JBRAI 


sKtOS 


%0: 


ALIFO% 
£& 


\\\E1 


.OF-CAL1FO%, 


^mm 


•LIBRARY^ 


\\\E-UNIVERS/A          >^LOS-ANCEIfj> 
s  _  f^_ 


'tux 


o 


THE  WORKS  OF 

JAMES  McNEILL  WHISTLER 


THE   WORKS  OF 


JAMES      McNEILL 
WHISTLER 


A    STUDY    BY 

ELISABETH      LUTHER     GARY 


WITH    A    TENTATIVE    LIST 

OF  THE 
ARTIST'S    WORKS 


MOFFAT,  YARD    AND  COMPANY 

NEW   YORK 

LONDON  OFFICE:  5  HENRIETTA  STR.  COVENT  GARDEN 
1913 


,  1907.  br 
MOFFAT,    YARD   ft   COMPANY 

NEW    YORK 
Published  January,  1907 


Art 
library. 


TO 

GEORGE  MARTIN  LUTHER 


CONTENTS. 


PAGE 

I.  Whistler's    Beginnings 3 

II.  French  Environment 1 1 

III.  English  Environment 35 

IV.  The  Entrance  of  Japan 55 

V.  Characterisations 71 

VI.  Etchings 95 

VII.  Lithographs 125 

5         VIII.  On  Whistler's  Theory  of  Art 137 


Introduction  to  List  of  Whistler's  Pictures 147 

i 

An  Incomplete  List  of  Whistler's  Paintings  in  Oil 

and  Water-colour,  and  Drawings 153 

A   List   of   Whistler's   Lithographs    (compiled 

chiefly  from  the  Memorial  Catalogues) . . .  233 

A  List  of  Whistler's  Etchings  (compiled  chiefly 

from  the  Memorial  Catalogues) 255 


LIST  OF   ILLUSTRATIONS 


Pretty  Nellie  ®rou?n  -  -  Frontispiece 

At  the  Piano        ...  Facing  page  14 

The  Blue  Wave— Biarritz       -  -  -  18 

Drouet — Etching  -  -  -  -  -22 

The  Lagoon — Venice  -  28 

The  White  Girl 38 

The  Dancer   -  -  -  -  -  42 

The  Little  White  Girl       -  -  -  -46 

Symphony  in  White — No.  3    •  -  -  48 

Draped  Figure  Standing  .  .  .  50 

Die  Lange  Leizen  .  .  .  .      56 

The  Falling  Rocket  64 

Portrait  of  Carlyle  -  -  -  -74 

Portrait  of  Whistler's  Mother  ...  76 

Portrait  of  Miss  Cicily  Henrietta  Alexander  -      78 


LIST  OF  ILLUSTRATIONS— Continued 

PAGE 

Henry  Irving  as  Philip  II.         -  82 

Portrait  of  M.  Duret                         -  -      86 

The  Lady  with  the  Yellow  ®M#n  90 

The  Rag  Gatherers            -             -              -  98 

Jo's  Bent  Head                          -  102 

Whistler  with  the  White  Lock— Etching      -  -106 

Early  'Portrait  of  Whistler  by  himself          -  -776 

The  Horoscope             .              .              .              .  126 

Mother  and  Child— No.  2              -             -  -     130 

The  Gossips — Ajaccio                .              .             .  /32 

The  Doorway — Venice      -             -             -  138 

The  Shop — Algiers     -              -             -              -  142 

The  Golf  Links— Dublin   -             -             -  -144 

Portrait  of  Comte  de  Montesquoiu-Fezansac  -     160 

Iris    -                                                     -  776 

The  Cemetery — Venice             ...  795 


PREFACE 


PREFACE 

My  aim  in  writing  about  Whistler  has  been  a  very 
simple  one.  I  have  wished  merely  to  express  the  kind 
of  pleasure  in  his  work  that  may  be  taken  by  an  un- 
technical  observer,  believing  that  no  special  vision  is 
required  to  get  from  it  the  satisfaction  given  by  any 
genuine  form  of  art.  I  have  tried  to  follow  a  general 
chronological  sequence,  but  have  made  no  great  point 
of  this,  as  the  chronology  of  his  works  is  very  imper- 
fectly determined  in  published  sources,  to  which  alone 
I  have  had  access.  Many  of  his  critics  no  doubt  are 
more  familiar  with  his  art  than  I  am,  yet  they  have 
not,  I  think,  placed  enough  stress  on  those  expressive 
and  "human"  qualities  in  it  that  seem  to  me  most 
obvious.  Of  course,  such  qualities  may  be  in  my 
imagination  only,  but  through  the  kindness  of  the 
owners  I  have  been  able  to  verify  and  strengthen 
impressions  of  a  much  earlier  date  by  review  of  a 
considerable  number  of  his  works  in  various  mediums* 
I  shall  feel  entirely  rewarded  if  by  discussing  them 
from  my  own  point  of  view,  I  may  have  the  good 
fortune  to  stimulate  a  somewhat  more  general,  a  some- 
what less  esoteric,  interest  in  an  art  that  seems  to  me 


peculiarly  to  appeal  to  the  aesthetic  instincts  of  the 
American  mind,  if  not  to  the  superficial  side  of 
American  taste.  I  am  aware  that  no  discussion  of 
Whistler's  art,  however  simple,  is  without  its  perils. 
It  was  Montaigne  who  said  "Je  reviendrois  volontiers 
de  1'autre  monde  pour  dementir  celuy  qui  me  formeroit 
autre  que  je  n'estcis,  fut-ce  pour  m'honorer." 
Whistler's  art,  however,  lives  to  contradict  those  who 
misrepresent  it  "even  to  honour  him." 

I  have  to  express  my  warmest  thanks  to  those  who 
have,  frequently  at  no  little  inconvenience  to  them- 
selves, made  it  possible  to  see  their  pictures,  and 
particularly  to  the  collectors  who  have  permitted 
reproductions  to  be  made.  I  must  especially  acknowl- 
edge a  great  obligation  to  the  friends  who  have  read 
my  manuscript  and  have  helped  me  by  suggestions 
and  corrections;  and  I  must  also  acknowledge  the 
assistance  of  Mr.  David  Kennedy,  who  has  put  me  in 
communication  with  foreign  owners  of  Whistler's 
works,  and  in  many  other  ways  has  facilitated  my 
task. 

For  such  data  of  Whistler's  student  years,  sur- 
roundings, etc.,  as  I  have  used,  I  have  depended  upon 
M.  Duret's  Life  and  M.  Leonce  Benedite's  articles  in 
the  Gazette  des  Beaux  Arts. 


WHISTLER'S  BEGINNINGS 


CHAPTER  FIRST. 

Whistler's  Beginnings. 

WHISTLER  already  was  an  artist  when,  at  the 
age  of  twenty-one,  he  went  to  study  in 
Gleyre's  Paris  atelier  toward  the  end  of 
1855.  Of  this  we  have  more  than  one  proof.  He  not 
only  had  etched  the  now  famous  marginal  designs  on 
the  Coast  Survey  plate  which  commemorates  his  brief 
career  as  a  servant  of  the  United  States  Government ; 
he  had  produced  a  number  of  drawings  and  paintings 
that  went  much  farther  than  merely  to  foreshadow 
his  later  accomplishment.  Fromentin  said  of  Rubens : 
"He  is  asked  for  his  studies  and  he  has  nothing  to 
show,  as  it  were,  but  works."  Almost  the  same  could 
be  said  of  Whistler,  so  little  is  there  of  the  tentative 
and  groping  in  his  first  essays  in  art.  Two  pen-and- 
ink  drawings  (made  with  brown  ink  or  possibly 
sepia)  were  recently  on  exhibition  in  one  of  the  rooms 
of  the  Albright  Art  Gallery  at  Buffalo,  to  which  they 
were  loaned  by  Dr.  Roswell  Park.  According  to  the 
description  accompanying  them,  they  were  made  by 
Whistler  when  a  boy  in  the  school  of  Dr.  Park's 
father  at  Pomfret,  Connecticut,  between  1850  and 
1852.0  He  was  not  more  than  sixteen  or  seventeen 
years  old  at  that  time,  but  the  drawings  might  well  be 


(*)  Miss  Mary  Park  (the  owner  of  the  drawings)  writes  that  she 
thinks  their  date  was  1851  or  1852,  that  it  could  not  have  been  later  than 
1852  as  the  school  was  then  given  up. 


4  THE  WORKS  OF  WHISTLER 

the  work  of  a  trained  hand.  In  one  a  man  is  playing 
a  fiddle,  while  some  of  his  companions  dance  and 
others  look  on.  The  naturalness  of  pose  and  gesture 
and  the  reserve  in  the  artistic  expression  of  the  rather 
complicated  subject  speak  of  anything  but  immaturity, 
and  show  that  the  characteristics  of  the  later  style 
were  natural  to  Whistler  and  not  formed  by  outer 
influences.  Each  line  tells  its  essential  fact  in  the 
composition;  there  are  no  foolish  accessories,  there 
is  no  uncertainty  of  handling.  Apparently  the  im- 
pression was  formed  in  the  mind  with  entire  precision 
before  the  pen  began  to  translate  it.  The  graceful 
action  of  the  fiddler's  hand  and  his  quiet,  relaxed  atti- 
tude are  in  pleasant  contrast  to  the  abounding  energy 
of  the  dancing  figures,  in  which  sheer  abandonment 
to  the  joy  of  their  motion  is  indicated  with  the  utmost 
delicacy  and  vivacity,  and  by  a  method  quite  as 
synthetic  as  that  of  any  of  the  Venetian  etchings. 
The  whole  spirit  of  the  little  scene  is  conveyed  with 
the  discrimination  and  humour  to  be  expected  as  the 
fruit  of  experience  and  slow  time,  not  at  all  as  the 
quality  of  a  youthful  talent;  nor  is  the  artistic 
simplicity  shown  in  it  the  naivete  frequently  found  in 
the  work  of  children  and  always  so  astonishing  there. 
The  mind  and  eye  had  gone  a  step  farther  than  that, 
but  had  not  lost  the  instinct  of  selection. 

The  other  drawing  is  of  a  man  sitting  with  crossed 
feet  and  folded  arms  on  a  barrel.  This  solid  little 
figure,  sitting  firmly,  is  also  a  complete  statement  and 
the  execution,  more  elaborate  than  in  the  first  draw- 


WHISTLER'S  BEGINNINGS  5 

ing,  is  neither  loose  nor  fumbling,  but  crisp,  certain, 
and  without  flourish. 

Two  water-colours,  also  dating  back  to  the  Pomf ret 
school-days,  were  shown  at  the  London  Memorial 
Exhibition,  and  one  of  these,  catalogued  as  Sam 
Welter's  Lodging  in  the  Fleet  Prison,  was  reproduced 
in  the  volume  by  Messrs.  Way  and  Dennis  on  Whist- 
ler's work,  with  the  title  Sam  Weller's  Landlord  in  the 
Fleet.  It  gives  even  in  the  reproduction  an  idea  of 
the  remarkable  command  over  his  material  with 
which  Whistler  was  endowed  from  the  first.  The  fat 
shrewd  face  of  the  cobbler,  the  excellent  construction 
of  his  figure,  the  delicacy  with  which  the  difficult 
effects  of  the  smoke  from  his  pipe  and  the  flame  of  his 
candle  are  rendered,  show  an  observation  already 
adequate  to  grasp  pictorial  values  and  a  hand  prompt 
and  obedient  to  the  dictation  of  the  mind.  A  still 
earlier  achievement,  a  little  bust  portrait  of  an  elderly 
aunt,  introduces  the  text  of  M.  Duret's  Life.  It  bears 
the  date  1844  and  although  it  has  a  childlike  quaint- 
ness  and  awkwardness,  it  betrays  a  very  definite  con- 
cern on  the  part  of  the  young  artist  with  modelled  line 
and  significant  light  and  shade. 

Other  very  early  drawings  and  sketches  were 
shown  at  the  Boston  Exhibition  in  1904,  and  the  pub- 
lic has  had  a  reasonable  opportunity  to  recognize  what 
hardly  can  be  called  Whistler's  precocity,  what  is 
rather  the  innate  sensitiveness  to  aesthetic  truths  that 
all  through  his  life  kept  him  from  seeing  things  in  any 
but  a  pictorial  way.  All  these  early  drawings  convey 


6  THE  WORKS  OF  WHISTLER 

the  sense  of  its  having  been  out  of  his  power  to  render 
a  thing  crudely  or  without  an  instinct  for  the  right 
choice  among  the  multitudinous  possibilities  offered 
by  his  material.  Apparently  he  was  born  with  the 
capacity  for  which  many  a  painter  strives  unsuccess- 
fully throughout  his  career,  the  capacity  to  ignore 
whatever  did  not  serve  the  purpose  of  his  art.  In  a 
word  he  never  saw  too  much.  And  the  very  charac- 
teristics which  frequently  are  described  as  distinc- 
tively those  of  the  later  periods,  are  found  from  time 
to  time  in  the  earlier  work,  so  that  the  observer  is 
never  safe  from  having  an  assumption  based  upon  in- 
complete knowledge  suddenly  overturned  by  the  ap- 
pearance of  some  little  drawing  or  painting  which, 
like  those  of  the  Pomfret  school,  must  be  assigned  to 
an  unquestionably  early  date,  and  which  nevertheless 
wears  the  peculiar  charm  of  the  mature  style. 

This  unexpectedness,  this  freedom  from  the  steady 
march  of  an  orderly  and  measured  development,  gives 
an  inexpressible  freshness  to  the  various  performance. 
Not  to  be  able  to  say  of  a  man  that  he  worked  this  way 
in  youth  and  that  way  in  age,  not  to  be  able  to  pin  him 
down  to  stiff  classifications  and  convenient  sequences, 
to  have  him  escape  catalogue  and  criticism  at  every 
point,  means  that  his  genius  was  vital  throughout  and 
that  it  possessed  the  classic  merit  of  elasticity.  This 
quality  of  elasticity  is  revealed  constantly  in  Whist- 
ler's accomplishment;  in  his  transitions  from  one 
medium  to  another  and  from  one  scale  to  another ;  in 
his  ability  to  preserve  in  each  medium  its  appropriate 


WHISTLER'S   BEGINNINGS  7 

and  especial  character,  and  in  his  swift  response  to 
the  inner  sentiment  and  mood  of  the  scene  before  him. 
Neither  in  his  youth  nor  in  hi&  age,  if  we  may  judge 
from  his  art,  did  he  ever  know  an  insensitive  or  un- 
observant moment. 

It  would  be  easy  to  assume  that  such  a  tempera- 
ment would  prove  extremely  susceptible  to  influences 
from  without,  and  would  pass  through  more  than  the 
common  number  of  modifications  by  other  minds. 
Much  has  been  written,  indeed,  of  Whistler's  debt  to 
certain  contemporaries  and  forerunners,  but  it  is  diffi- 
cult to  find  that  these  did  more  than  lightly  to  sway  his 
fancy  toward  a  manner  of  composition  at  one  moment 
or  a  choice  of  subject  at  another.  They  have  not 
robbed  his  work  of  its  individuality  even  where  most 
is  to  be  said  for  their  share  in  it.  Nothing,  however, 
is  more  interesting  than  to  try  to  trace  in  any  complex 
human  performance  the  psychological  gravitation  that 
keeps  each  personality,  however  strong,  from 
dropping  out  of  its  place  in  the  system,  and  Whistler's 
environment  during  his  early  years  as  an  art  student 
provided  him  with  many  contacts,  of  which  a  few 
seem  to  have  affected  his  art  to  a  greater  or  less  de- 
gree, and  others  to  have  exercised  no  influence  what- 
ever upon  it.  It  was  a  critical  moment  in  the  history 
of  modern  painting.  It  was  the  moment  at  which  it 
might  be  said  that  the  purely  modern  impulse  toward 
uniting  art  with  science  came  of  age  and  claimed 
freedom  of  action.  The  conflict  between  the  old  ideas 
and  the  new  ideas  had  begun  in  earnest  and  it  was 


8  THE  WORKS  OF  WHISTLER 

already  obvious  that  the  cause  of  the  younger  genera- 
tion was  to  be  the  gaining  cause,  in  spite  of  the  inflex- 
ible attitude  of  those  who  felt  themselves  the  guard- 
ians of  the  old  tradition.  Only  the  most  stolid  intelli- 
gence could  have  come  into  a  field  so  crowded  with 
personal  interests  and  adventures  and  failed  to  range 
itself  either  tacitly  or  openly  on  one  side  or  the  other ; 
or  to  receive  impressions  that  demanded  to  be  tested 
before  the  final  choice  was  made. 


FRENCH  ENVIRONMENT 


CHAPTER  SECOND. 

French  Environment. 

THUS  Whistler,  going  to  Paris  for  an  education 
which  turned  out  to  be  perhaps  chiefly  a  self- 
education,    found    himself    surrounded   by    a 
group  of  combative,  industrious,  clear-headed,  inquir- 
ing and  talented  young  painters,  whose  minds,  if  some- 
times acrobatically  inclined,  were  in  the  main  incisive 
and  orderly,  and  bent  upon  interrogating  artistic  prob- 
lems at  first  hand,  preparing  the  way  for  the  revo- 
lution in  standards  of  which  Courbet  was  the  boister- 
ous herald. 

M.  Duret,  in  his  account  of  Manet's  life,  has  drawn 
a  vivid  picture  of  the  difficulties  under  which  painters 
with  a  personal  vision  and  a  fresh  ideal  were  obliged 
in  the  late  fifties  and  early  sixties  to  struggle  toward 
recognition.  Manet  began  his  formal  study  of  paint- 
ing in  the  atelier  of  Couture  whom  he  left  in  1856,  not 
long  after  Whistler  arrived  in  Paris.  Couture  had 
identified  himself  with  the  Romantic  School  of  which 
Delacroix,  who  died  in  1863,  was  the  acknowledged 
leader,  and  which,  despite  its  several  great  disciples, 
encouraged  a  false  and  bombastic  sentiment  opposed 
both  to  nature  and  art.  Historical  painting  was  in  its 
full  vogue  and  Couture  was  conventional  and  acade- 
mic in  his  management  of  historical  subjects,  al- 
though, looking  back  across  nearly  half  a  century  of 
very  different  aesthetic  aims,  it  is  possible  to  find  him 


12  THE  WORKS  OF  WHISTLER 

at  least  soothing  in  his  measured  application  of  a  dis- 
tinct philosophy  to  his  rather  dull  canvasses.  "He  be- 
lieved, with  a  majority  of  the  artists  of  his  time,"  says 
M.  Duret,  "in  the  excellence  of  a  fixed  ideal,  opposed 
to  realism,  as  it  was  termed  with  horror.  Only  cer- 
tain subjects  were  then  believed  worthy  of  art. 
Scenes  from  antiquity,  the  representation  of  Greeks 
and  Romans,  were  given  the  preference  as  having  in 
themselves  the  character  of  nobility;  the  men  of  the 
present,  on  the  contrary,  with  their  frock-coats  and 
every  day  apparel,  were  to  be  avoided  as  offering  only 
realistic  motives  in  contradiction  to  art.  Religious 
subjects  were  held  proper  to  great  art,  but  first  and 
foremost  came  the  nude,  which  herein  was  et  prin- 
cipium  et  fans.  Next,  in  a  somewhat  lower  grade,  but 
still  acceptable,  came  compositions  drawn  from  coun- 
tries having  an  exotic  charm  for  the  imagination, 
such  as  those  of  the  Orient.  An  Egyptian  landscape 
was  worthy  in  itself,  an  artist  enamoured  of  the  ideal 
might  paint  the  sands  of  the  desert,  but  to  paint  a 
Normandy  pasture  with  cows  and  fruit-trees  was  to 
be  sunk  in  realism  and  degraded."  It  was  against 
such  theories  that  Manet's  independent  temper  re- 
volted. He  was  the  drastic  innovator  in  French 
painting;  the  man  who  overturned  old  traditions, 
or  to  speak  more  truly,  ignored  them  and  made 
others  which  were  in  harmony  with  the  still  older 
past  of  the  great  masters,  but  he  was  not,  of 
course,  the  first  iconoclastic  spirit  of  his  time.  Cour- 
bet  was  earlier  in  the  field  of  sheer  realism  which 


FRENCH  ENVIRONMENT  13 

he  so  intensely  though  more  or  less  brutally  conceived, 
and  about  Courbet  circled  the  ardent  ones  who  pro- 
claimed their  love  of  reality  and  their  detestation  of 
Academies. 

Whistler  was  well  prepared  to  take  his  part  in  the 
discussions  of  the  day.  During  some  years  of  boy- 
hood spent  in  Russia  he  had  learned  to  speak  the 
French  language  as  though  it  were  his  own.  This 
saved  him  the  tedious  effort  of  translating  into  a  new 
vocabulary  the  thoughts  and  feelings  of  those  about 
him.  It  gave  him  practically  another  tool  which  he 
understood  as  he  understood  his  etching  needle;  it 
made  it  easy  for  him  to  enter  at  once  upon  the  life  of 
a  French  student  without  any  preliminary  knocking 
at  the  door  and  fumbling  with  the  latch.  The  life  of 
a  French  student  still  included  the  practice  of  copying 
at  the  Louvre,  the  old  masters  being  not  yet  dis- 
credited as  guides  to  new  mastery.  Fantin-Latour, 
Legros,  Manet,  Bracquemond,  were  among  those 
frequenting  the  galleries,  and  Whistler  also  copied 
there  such  curiously  diverse  painters  as  Ingres, 
Boucher,  and  Velasquez. 

It  was  at  the  Louvre  that  he  met  Fantin-Latour. 
according  to  M.  Benedite's  account  of  the  friendship 
that  presently  sprang  up  between  the  two  young  men 
who  represented  radically  different  types  of  mind  and 
temperament,  but  who  found  in  one  another  a  com- 
mon impulse  toward  sanity  and  sincerity  of  artistic 
expression. 

Fantin-Latour  was  one  of  those  in  whom  as  in 


14  THE  WORKS  OF  WHISTLER 

books,  in  the  Bishop  of  Durham's  phrase,  "we  find  the 
dead,  as  it  were,  living."  His  youth  was  spent  almost 
exclusively  in  disengaging  from  the  pictures  of  the 
past  the  spirit  and  method  of  those  who  painted  them. 
"Rubens  and  Veronese  discovered  him  to  himself," 
one  of  his  critics  says,  and  his  long  apprenticeship  to 
the  humble  task  of  copying  masterpieces,  undertaken 
as  it  was  in  a  mood  not  of  literalism  but  of  poetic  analy- 
sis, resulted  in  a  facility  and  felicity  of  handling  little 
short  of  marvelous.  As  true  to  himself  as  to  his  great 
models,  he  developed  his  own  style  while  searching  for 
the  secret  of  theirs.  Technically  accomplished,  dedi- 
cated to  the  old,  yet  sensitive  to  new  excellence,  he 
must  inevitably  have  exercised  a  mild  and  harmoniz- 
ing influence  on  the  turbulent  forces  encircling  him, 
and  it  is  easy  to  believe  that  Whistler  derived  from  the 
sobriety  and  measure,  the  good  taste  and  intelligence 
of  his  works,  a  degree  of  profit  not  lightly  to  be  esti- 
mated ;  and  that  to  the  end  he  felt  the  effect  of  his  wise 
example. 

M.  Benedite,  at  all  events,  sees  definite  traces  of 
Fantin  in  Whistler's  first  important  composition,  en- 
titled At  the  Piano,  painted  during  a  visit  to  England 
and  exhibited  at  the  Royal  Academy  in  1860.  He  has 
described  the  picture  with  reference  to  this  influence 
as  follows: 

"In  a  softly  lighted  interior  a  woman,  seated  at  the 
left  of  the  canvas,  is  playing  on  the  piano,  at  the  right 
stands  a  little  girl,  leaning  on  the  piano  and  listening 
in  an  attentive  attitude.  These  are  his  '(Whistler's) 


o 


UJ 

H 


FRENCH  ENVIRONMENT  15 

sister,  Mrs.  (now  Lady)  Haden,  and  his  niece  Annie, 
already  made  the  subject  of  a  delicious  etching.  The 
mother  is  wholly  in  profile,  in  a  black  dress;  the  little 
girl  is  all  in  white  with  blonde  hair  falling  on  her 
shoulders.  Under  the  piano,  violin  and  violincello 
cases  repeat  the  black  note  of  the  dress.  On  the  floor 
is  a  covering  of  plain  red  which  corresponds  to  the  red 
covering  of  a  round  table  behind  Mrs.  Haden,  on 
which  is  placed  a  Chinese  cup  decorated  in  blue  and 
gold.  The  background,  very  light  and  soft,  is  of 
grayish-white  with  bands  of  water-green  and  gold; 
the  wall  is  adorned,  as  always  in  Fantin's  pictures,  by 
the  lower  portions  of  two  great  picture  frames,  the 
gold  of  which  gleams  dimly.  The  just  agreement  of 
these  sober  discriminated  tones,  these  reds  and  rus- 
sets, these  blacks  and  whites,  these  grays  and  golds ; 
the  relation  of  the  figures  to  the  background  from 
which  they  detach  themselves  quietly,  bathed  in  at- 
mosphere; the  flesh-tones  suffused  with  a  limpid  bril- 
liancy as  though  softened  by  the  glow  of  light;  the 
transparency  of  the  shadows;  the  caressing  vibration 
of  the  lights ;  the  whole  precious  canvas,  of  the  rarest 
sensibility,  evokes  the  memory  of  those  Brodeuses 
and  of  that  Liseuse  with  which  it  went  to  the  combat 
in  that  Salon  of  1859,  the  first  to  which  the  two  friends 
had  dared  adventure." 

The  two  friends  were  both  defeated,  sharing  the 
fate  of  all  who  attempted  to  produce  art  that  fell  out- 
side of  academic  custom  and  formula,  and  it  was  on 
this  occasion  that  Bonvin,  a  painter  a  number  of  years 


16  THE  WORKS  OF  WHISTLER 

the  senior  of  Whistler  and  his  companions,  threw 
open  his  studio  for  an  exhibition  of  their  rejected 
works,  and  brought  to  this  little  Salon  des  Refuses 
Courbet  and  other  artists  who  marked  Whistler  for 
their  particular  praise. 

In  Courbet  also  M.  Benedite  finds  an  influence  that 
makes  itself  felt  in  Whistler's  early  pictures,  more 
especially  in  his  pictures  of  the  sea.  Such  an  assump- 
tion involves  an  adaptation  of  Whistler's  vision  to 
a  vision,  absolutely  unlike  his  own,  that  saw  the 
outer  wrappings  of  nature  where  her  delicate  inner 
forms  were  revealed  to  his  subtler  observation.  It 
is  hardly  contestable  that  between  certain  pictures  by 
Whistler  and  certain  pictures  by  Courbet  a  clear  like- 
ness exists,  but  it  seems  to  be  confined  to  qualities  held 
in  common  with  others,  with  Manet,  for  example, 
whose  direct  vision  already  had  enabled  him  to  pro- 
duce masterpieces.  It  is  true  that  The  Blue  Wave, 
painted  by  Whistler  at  Biarritz  in  1862  (now  owned 
by  Mr.  Alfred  Atmore  Pope  of  Farmington)  is  ex- 
tremely like  a  painting  of  the  open  sea  by  Courbet  which 
recently  has  hung  in  the  Cottier  Galleries  in  New  York, 
but  Courbet's  picture  which  apparently  is  a  study  for 
his  great  picture  of  La  Mer  Orageuse  (now  commonly 
called  La  Vague}  of  1870,  cannot  have  been  painted  as 
early  as  Whistler's  of  1862,  so  what  influence  can  be 
traced  logically  must  be  traced  to  Whistler.  Each  is 
the  portrait  of  the  ocean  in  an  angry  mood.  The 
sound  of  the  rollers  booming  toward  the  shore  almost 
can  be  heard  in  Whistler's  picture ;  the  forms  are  even 


FRENCH  ENVIRONMENT  17 

bolder  than  in  Courbet's,  the  advance  of  the  waves 
is  more  irresistible,  the  sky  domes  with  a  vaster  curve, 
there  is  a  clearer  conception  of  elemental  force  and 
majesty.  "The  sea  here  is  terrible,"  Whistler  wrote 
from  Biarritz  in  a  letter  describing  a  narrow  escape 
from  drowning,  and  it  is  precisely  the  terrible  aspect 
of  the  engulfing  waves  that  he  has  rendered.  He  has 
rendered  also  the  liquid  quality  of  the  water  more 
fluently  than  Courbet  and  his  churning  foam  shows 
less  tormented  brushwork.  Courbet's  characteristic 
brown  is  in  the  foreground,  but  the  blue  is  that  of 
Whistler's  own  especial  palette;  intense  and  vital. 
Some  subtler  resemblance  than  a  mere  account  of 
technical  likenesses  could  show,  dwells,  however,  in 
the  two  canvases  and  it  is  not  surprising  that  the 
older  man  is  held  responsible  for  it  by  those  who  have 
not  followed  the  work  of  the  two  with  regard  to 
chronological  sequence.  In  Whistler's  picture,  as  in 
Courbet's,  we  see  a  bluffness  of  temper,  a  vigour  of 
description  that  suggests  a  man  of  action  rather  than 
a  fastidious  discriminating  observer.  How  differently 
Whistler  was  to  paint  the  sea,  with  how  much  more 
reticence  and  mystery,  is  revealed  by  another  pic- 
ture in  the  same  collection,  the  Symphony  in  Blue 
and  Violet,  a  masterpiece  of  noble  eloquence  com- 
pressing into  a  few  elements  all  the  poetry  of  whipping 
spray  and  driving  clouds,  of  unquiet  powers  and  thick 
salt  air. 

This  picture  also  shows  us  the  open  sea  with  billows 
advancing,  their  blanched  crests  driven  forward  by 


18  THE  WORKS  OF  WHISTLER 

the  wind — not  near  us  as  in  The  Blue  Wave  but  far 
off  on  the  horizon  where  their  smallness  makes  us 
realize  the  immensity  of  the  space  they  must  traverse 
to  reach  us.  This  space  is  filled  with  the  restlessness 
of  the  heaving  water  that  rolls  and  rocks  with  per- 
petual change  of  colour  and  form.  Across  the  sullen 
deep  skims  toward  us  a  sharp  light  edge  of  foam,  and 
on  the  horizon  a  small  white  sail  calls  to  it  with  an- 
other note.  Two  other  boats  are  riding  the  billow, 
the  larger  a  soft  gray  shape  against  the  low  gray  sky 
which  breaks  into  a  pale  turquoise  at  the  top,  and 
across  which  ragged  clouds  are  passing.  The  horizon 
line  dips  and  rises  like  a  melody  and  its  irregular 
curves  are  echoed  in  the  forms  of  the  clouds.  The 
merits  of  the  execution  are  great  even  for  Whistler's 
brush,  but  the  fine  imagination  that  pervades  the  can- 
vas, that  fills  it  with  a  sombre  splendour  and  wraps  it 
in  an  austere  poetic  sentiment,  is  greater.  It  tells  us 
that  the  artist  in  laying  aside  the  realism  of  The  Blue 
Wave  became  only  a  still  more  subtle  realist.  In  the 
Blue  and  Violet  if  he  has  eliminated  everything  that 
could  interrupt  the  breadth  of  the  effect  he  has  kept 
everything  that  contributes  to  the  essential  truth  of 
the  scene.  The  difference  is  simple.  It  is  not  the  ob- 
server but  the  maker  who  has  set  his  seal  upon  the 
canvas. 

We  must,  however,  continue  to  beware  of  sharp 
divisions.  In  The  Blue  Wave  also,  despite  its  thicker 
skin  and  more  matter  of  fact  realization,  we  find  the 
generalization  that  makes  the  least  poetic  of  Whist- 


CO 
id 


ffl 


-J 

03 
UJ 

X 


u 

I 


FRENCH  ENVIRONMENT  19 

ler's  pictures  something  more  than  realism,  and  it  is 
interesting  to  ask  ourselves  at  this  point,  if  in  his  asso- 
ciation with  Courbet  he  did  not  modify  the  older 
painter's  point  of  view  as  much  as  he  was  modified  by 
it,  if  not  more.  There  seem  to  be  indications  that  he 
did.  One  of  Courbet's  most  enlightened  critics,  M. 
Paul  Mantz,  writing  in  1878,  says  of  La  Vague 
(painted  eight  years  later  than  Whistler's  Blue 
Wave)  :  "It  is  an  impassioned  effort  that  does  Cour- 
bet much  honour.  The  painting  in  this  case  is  com- 
plicated with  that  subtle  and  intangible  element  that 
makes  it  impossible  not  to  believe  that  the  artist  has 
intended  to  make  a  synthesis  of  the  wave,  he  has  added 
abstraction  to  its  concrete  phenomenon;  he  has,  so 
far  as  it  lay  in  his  power,  submitted  to  the  fatality  of 
the  ideal."  It  is  not  entirely  fanciful,  I  think,  to  read 
in  this  a  suggestion,  too  slight  for  serious  emphasis 
yet  quite  distinct,  that  Whistler's  way  of  looking  at 
nature  reacted  upon  Courbet  and  led  him  after  his 
gusty  burial  of  romance  toward  an  art  of  eliminations 
and  refinements  foreign  to  his  habitual  processes. 
There  are  other  signs  as  well,  that  fix  more  exactly 
the  moment  of  this  relenting.  The  summers  of  1865 
and  1866,  according  to  M.  Duret,  were  spent  by 
Whistler  in  Courbet's  company  at  Trouville,  the  two 
living  and  painting  side  by  side.  One  of  Whistler's 
pictures  of  this  period  (now  in  Mrs.  Gardner's  collec- 
tion) has  Courbet's  figure  in  the  foreground.  It  is 
painted  rather  more  dryly  than  most  of  Whistler's 
sea-pictures,  but  there  is  much  of  Whistler  and  little 


20  THE  WORKS  OF  WHISTLER 

if  any  of  Courbet  in  the  treatment,  the  wan  sands  and 
the  silvery  shimmer  of  the  blue  showing  unmistakably 
his  own  feeling  for  colour  and  his  discrimination  in 
rare  tones.  We  think  of  it  as  having  been  the  same 
had  he  been  alone  at  Trouville.  But  in  Courbet's 
painting  of  these  two  summers,  M.  Mantz  finds  a  new 
sensitiveness  to  subtleties  of  nature  not  before  inter- 
rogated by  the  master's  sturdy  vision.  Without  re- 
ferring to  the  companionship  of  Whistler,  perhaps 
ignorant  of  it,  he  traces  in  Courbet's  canvasses  pre- 
cisely the  qualities  that  are  evoked  by  the  thought  of 
Whistler's  attitude  toward  the  visible  world.  (*) 

"Among  these  views  of  sky  and  sea,"  he  says, 
"many  are  superb,  speaking  to  the  eye  and  to  the 
mind  by  visual  characteristics,  the  charm  of  which 
had  long  been  disregarded  by  Courbet,  for  they  have 
depth  of  distance,  vital  air,  luminous  atmosphere." 
And  in  another  reference  to  the  work  of  these  sum- 
mers, he  frankly  announces  his  amazement  that  Cour- 
bet should  have  sought  to  refine  upon  nature  in  draw- 
ing from  his  model  for  the  Baigneuse  of  1866.  "Cour- 
bet seized  with  a  fervour  for  elegance  very  curious 
to  note  in  him,"  he  says,  "wished  to  make  his  bather 
slender." 

In  these  comments  as  in  the  one  or  two  canvasses 


(*)  Mr.  August  F.  Jaccaci  tells  me  that  none  of  Courbet's  "waves," 
which  are  numerous,  has  been  traced  to  a  date  earlier  than  these  years 
spent  with  Whistler  at  Trouville,  and  that  La  Vague  now  in  the 
Louvre  did  not  get  this  name  until  after  1870,  its  first  title  being  La  Mer 
Orageuese.  Therefore,  it  is  not  possible  that  Whistler's  ' '  wave  "  of  1 862 
owes  anything  to  similar  subjects  by  Courbet,  the  earliest  of  which  must 
have  followed  The  Blue  Wave  by  at  least  three  years. 


FRENCH  ENVIRONMENT  21 

by  Courbet  painted  at  about  that  period,  which  have 
been  accessible  to  the  present  writer,  it  is  at  least  pos- 
sible to  read  admissions  rather  touching  than  other- 
wise and  as  creditable  to  Courbet  as  they  are  flatter- 
ing to  Whistler,  that  the  exquisite  talent  of  the  latter 
was  not  lost  upon  his  companion  who  for  the  time  of 
their  close  companionship  became  anew  the  pupil  of 
nature,  of  a  more  charming  nature  than  he  had 
hitherto  known,  a  teacher  who  set  him  difficult  tasks 
which  he  bravely  accomplished  and  won  from  him 
recognitions  which  he  gave  with  delicacy.  If  Whist-  , 
ler  lent  synthesis,  daintiness,  an  ambient  air  to  Cour- 
bet and  Courbet  emphasized  in  Whistler  the  force  of 
primitive  nature  and  the  joy  of  the  obvious,  it  was  per- 
haps an  equitable  exchange  that  should  not  be  re- 
gretted for  either,  but  that  should  not  be  held  respon- 
sible for  any  of  the  "realism"  of  Whistler's  art.  His 
respect  for  reality  was  too  deeply  ingrained  to  be  in- 
fluenced by  the  practice  of  other  artists,  whatever  at- 
tention he  may  have  accorded  to  their  theories. 

It  seems  to  be  only  in  the  earlier,  perhaps  only  in 
the  earliest  canvasses  by  Whistler  that  we  may  look 
with  any  degree  of  confidence  for  the  signs  on  his  part 
that  he  was  in  the  neighbourhood  of  the  "mattre 
d'Ornans"  and  where  these  signs  exist  they  do  not 
convey  the  idea  of  imitation  nor  are  they  unwelcome 
as  a  feature  of  his  art.  They  show  an  attitude  of 
hospitality  to  experimental  ideas,  of  freshness  of 
thought  and  of  enthusiasm  pleasant  to  find  in  any  art 
so  remote  as  Whistler's,  so  selective,  so  fastidious,  so 


22  THE  WORKS  OF  WHISTLER 

personal.  In  1862  he  painted  The  Last  of  Old  West- 
minster, now  owned  by  Mr.  Pope,  in  a  mood  of  down- 
right statement  which  at  least  makes  us  remember 
that  Courbet  at  the  same  time  was  painting  in  a  mood 
as  downright.  The  picture  represents  the  demolition 
of  the  old  Westminster  Bridge  and  the  building  of  the 
new.  The  great  structure  is  drawn  with  the  boldest 
yet  the  most  specific  definition  of  form.  Nothing  has 
been  omitted  or  attenuated  in  its  long  stretch  across 
the  canvas.  Workmen  are  engaged  on  the  new  bridge 
of  which  one  span  is  seen,  there  are  scaffoldings  and 
heavy  piles  and  little  boats ;  on  the  Surrey  side  of  the 
river  are  buildings  and  trees, — all  are  rendered  with 
fidelity  and  an  apparent  delight  in  the  power  of  art  to 
reproduce  the  actual  without  much  picking  and  choos- 
ing, with  merely  the  quick  grasp  of  handsome  bold 
effects  well  within  the  reach  and  with  a  use  of  blonde 
brown  in  the  water  that  recalls  Courbet's.  It  is  not 
an  artistic  temper  that  a  painter  with  Whistler's 
tendencies  and  prepossessions  would  be  expected  to 
retain  for  a  lifetime,  but  as  the  ebullient  note  of  youth 
it  was  in  place  and  cheering.  In  such  a  picture  a  part 
of  our  satisfaction  with  it  comes  from  its  intangible 
suggestions  that  the  painter  was  young,  was  in  love 
with  his  art,  was  knowing  joyous  days,  was  compan- 
ionable with  other  minds. 

This  special  quality  may,  of  course,  have  been  in- 
spired by  contact  with  Courbet's  own  limitless  youth- 
fulness  ;  but  it  is  not  probable,  as  this  painting  also  pre- 
ceded the  period  of  close  association  between  the  two 


DROUET. 
(From  the  Etching.) 


FRENCH  ENVIRONMENT  23 

artists.  It  should  be  remembered  that  so  far  as 
the  spirit  of  Whistler's  art  goes,  his  Thames  etch- 
ings show  much  the  same  kind  of  realism  as  ap- 
pears in  The  Last  of  Old  Westminster  and  The  Blue 
Wave,  the  same  structural  richness  and  frank  scru- 
tiny of  the  external  world,  and  in  the  etchings  no 
accent  but  his  own  can  be  distinguished.  As  M. 
Benedite  has  pointed  out,  he  had  no  national  tradi- 
tions and  school  prejudices  and  therefore  was  not  so 
deeply  concerned  as  his  companions  with  the  question 
of  masters  and  limiting  allegiances.  His  appreciation 
of  Rembrandt  in  his  youth  left,  for  example,  hardly 
a  trace  on  his  student  work.  Although  he  copied 
effectively  enough  at  the  Louvre,  as  his  copy  of  the 
Andromeda  by  Ingres,  exhibited  at  the  Keppel  Gal- 
leries in  New  York,  sufficiently  testifies,  he  did  not 
excel  his  companions  as  a  copyist.  Nor  is  he  reported 
as  having  been  an  industrious  student  at  Gleyre's. 
The  point  with  him  was  not  so  much  his  industry  in  the 
ordinary  sense  of  the  word,  it  was  his  energy  of  pur- 
pose. He  himself  declared  that  what  he  began  he  did 
not  leave,  and  having  begun  to  be  an  artist  he  never 
for  a  moment  was  anything  else.  If  not  working  in 
the  studio  or  gallery  he  was  working  in  the  street  or 
on  the  shore  or  the  banks  of  the  river,  observing, 
making  deductions  and  comparisons,  training  his 
eyes,  storing  his  memory,  and,  by  the  constant  taking 
of  notes,  giving  to  his  hand  that  indispensable  manual 
memory  without  which  an  artist  is  at  loss  to  record 
his  knowledge.  Even  at  the  first  there  was  no  osten- 


24  THE  WORKS  OF  WHISTLER 

tation  in  his  method.  There  was  no  bravura.  He  ap- 
plied his  art  to  the  average  material  about  him  with 
such  simplicity  that  it  is  sometimes  difficult  to  realize 
how  steadily  he  must  have  bent  his  eyes  upon  the 
truth  of  nature  to  present  it  with  such  perfect  propor- 
tion and  in  such  a  clear  light.  The  visible  world 
seemed  to  him  interesting,  not  because  it  was  like  pic- 
tures he  had  seen  of  it,  but  because  it  was  itself,  and 
in  itself  pictorial. 

This  gave  to  his  work  a  vitality  of  utterance  inde- 
pendent of  his  artistic  vocabulary.  If  he  chose,  like 
Courbet,  to  use  a  forcible  and  slightly  rough  speech  at 
one  moment  or  another  it  was  still  his  own  emotion 
that  he  expressed  with  it.  His  mind  was  concentrated 
on  nature  as  he  saw  it,  not  as  anyone  else  saw  it,  and 
this  concentration  led  naturally  to  the  stately  syn- 
thesis of  his  most  expressive  moods.  The  facts  of  life 
as  they  unrolled  themselves  before  him  remained  in 
his  memory.  In  his  later  years  when  he  had  long 
passed  beyond  whatever  influence  Courbet  may  have 
exercised  upon  him,  he  needed  no  reminder  that  the 
ocean  was  an  element  of  might  and  of  potential 
cruelty.  One  has  only  to  observe  any  one  of  his  paint- 
ings of  the  sea  as  they  are  reproduced  in  the  London 
Catalogue  or  in  the  various  books  upon  his  art  to  see 
how  even  in  poor  translations  of  his  beautiful  tech- 
nique the  quality  of  truth  to  the  essential  facts  of  na- 
ture persists.  In  the  smallest  drawings  as  in  the 
largest  canvas  it  is  present.  Mr.  Howard  Mansfield 
owns  a  bewitching  water-colour  bearing  the  title 


FRENCH  ENVIRONMENT  25 

Green  and  Silver:  The  Photographer,  which  shows 
within  a  few  square  inches  of  space  a  lovely  sky  with 
sweeping  clouds  above  an  ocean  the  waves  of  which 
break  on  a  beach  where  three  or  four  figures  are 
placed,  one  of  them,  the  Photographer,  busy  with  his 
instrument.  The  reality,  the  life  of  nature,  is  as  per- 
fectly revealed  in  this  as  in  The  Blue  Wave.  The  sky 
domes,  the  floating  clouds  have  their  characteristic 
texture,  the  ocean  is  a  ponderable  element  with  mass 
and  power,  the  figures,  tiny  spots  in  the  encompassing 
atmosphere,  move  and  breathe.  And  thus  it  is  with  so 
many  others  that  it  is  safe  to  assume  it  true  of  all. 

Therefore,  it  is  not  strange  that  Whistler  did  not 
lay  undue,  or  perhaps,  as  M.  Benedite  thinks,  not  even 
due  stress  upon  his  debt  to  Courbet.  He  was  not  long 
in  finding  that  his  path  did  not  lead  him  to  an  impasse 
of  superficial  realism  which  is  what  the  word  too  often 
implies  in  Western  art.  The  quintessential  realism 
of  .the  Orient  was  another  matter;  with  this  he  was 
instinctively  in  sympathy,  and  seeking  its  appropriate 
expression  in  his  personal  accomplishment,  he  passed 
quite  beyond  the  gates  at  which  both  the  Realists  and 
the  later  Impressionists  stopped. 

As  early  as  1867  ne  seems  to  have  been  in  complete 
revolt  against  all  that  Courbet  represented  in  art.  In 
a  letter  of  that  year,  written  to  Fantin,  he  inveighs 
against  the  education  he  has  given  himself,  or  rather 
the  "terrible  lack  of  education"  which  he  feels.  He 
assures  his  friend  of  the  regret,  rage  and  hatred  with 
which  he  thinks  of  Courbet,  not  of  the  poor  man  him- 


26  THE  WORKS  OF  WHISTLER 

self  or  even  of  his  works,  but  of  his  realistic  doctrines 
and  that  cry  of  "Vive  la  Nature!"  prompted  by  the 
assurance  of  ignorance  in  defiance  of  all  traditions. 
He  declares  that  cry  of  "Nature!"  to  have  been  his 
great  misfortune,  leading  him  to  paint  what  he  saw 
before  him  complacent  in  the  notion  that  fidelity  to  the 
obvious  was  the  only  thing  needed.  He  depicts  him- 
self with  furious  whimsy  as  having  been  "a  black- 
'  guard  swelling  with  vanity  at  being  able  to  show  the 
painters  his  splendid  gifts,  gifts  only  requiring  a 
severe  training  to  make  their  possessor  at  the  present 
moment  a  master  and  not  a  perverted  pupil."  He 
mourns,  furthermore,  that  he  could  not  have  had  In- 
gres for  a  teacher,  though  liking  his  pictures  only 
moderately.  "I  find  many  of  his  canvasses  which  we 
have  looked  at  together,"  he  says,  "very  questionable 
in  style,  not  at  all  Greek  as  they  are  said  to  be,  but 
very  viciously  French.  I  feel  that  there  is  a  much 
greater  distance  to  go,  that  there  are  much  more  beau- 
tiful things  to  do.  But  I  repeat,  had  I  but  been  his 
pupil!  What  a  master  he  would  have  been!  How 
sanely  he  would  have  guided  us !" 

This  letter  M.  Benedite  interprets  as  marking  the 
close  of  what  he  calls  the  "preparatory  period"  in 
Whistler's  development.  A  further  passage  exalts 
lineal  beauty  and  decries  colour  except  as  the  accom- 
paniment of  firm  design,  and  it  was,  no  doubt,  with 
reference  to  this  emphasis  on  the  virtue  of  beautiful 
line  that  Ingres  came  into  Whistler's  mind  as  the 
master  above  all  others  who  knew  its  resources  and 


FRENCH  ENVIRONMENT  27 

could  impart  his  knowledge.  M.  Benedite  finds  that 
from  this  time  (1867)  onward  Whistler  became  more 
austere  and  gave  to  the  element  of  design  in  his  work 
a  more  and  more  preponderant  place,  if  by  design  is 
understood  the  expressive  value  of  line,  the  arabesque, 
the  placing  and  disposition  of  the  subject.  Such  a 
separation  of  the  "early"  and  the  "late"  periods  has 
in  it,  however,  a  precision  of  statement  of  which  the 
baffling  and  flexible  truth  does  not  in  this  case  wholly 
admit.  Whistler's  art  was  so  integral  that  thus  to 
divide  it  up  even  with  the  wise  moderation  of  this 
learned  critic,  tends  to  banish  from  the  mind  the  close 
web  of  consistency  by  which  all  the  periods  were  held 
together.  If  we  examine  merely  for  the  lineal  pattern, 
the  picture  called  The  Music  Room  which  followed 
At  the  Piano,  with  an  interval  of  perhaps  two  years 
between  them,  and  the  portrait  of  Lady  Meux  in  rose 
and  gray  which  is  placed  by  Mr.  Way  among  the 
work  of  the  early  eighties,  twenty  years  later,  we  see 
in  both  the  same  preoccupation  with  the  placing  of  the 
figure  and  the  refinement  of  the  line.  The  standing 
figure  in  The  Music  Room,  a  girl  in  a  riding  habit, 
presents  an  arabesque,  the  curves  of  which  flow 
naturally,  without  exaggeration  and  in  perfect  har- 
mony, balanced  and  offset  by  the  straight  lines  of  the 
curtains,  the  picture  frames  and  the  mantel  shelf.  In 
the  Lady  Meux  the  figure  stands  in  a  very  similar  po- 
sition but  there  are  no  accessories.  Beyond  the 
rippling  edge  of  the  light  curtain  meeting  the  dark 
floor,  there  are  no  lines  of  composition  save  in  the 


28 

figure  itself.  This  is  very  clearly  shown  in  Mr.  Mans- 
field's pen  and  ink  drawing  of  the  subject  which  gives 
the  outline  with  every  other  element  abstracted.  In 
regarding  it  one  thinks  instinctively  of  Whistler's 
own  charming  instruction  as  to  the  artist's  method  of 
using  nature,  when  "in  the  long  curve  of  the  narrow 
leaf,  corrected  by  the  straight,  tall  stem,  he  learns  how 
grace  is  wedded  to  dignity,  how  strength  enhances 
sweetness,  that  elegance  shall  be  the  result."  It  is  a 
wonderful  piece  of  drawing,  but  the  sensitiveness  to 
decorative  pattern  and  linear  eloquence  is  hardly 
greater  in  it  than  in  the  earlier  picture  with  its  less 
perfectly  discriminated  values  and  less  complete 
though  more  detailed  statement. 

The  letter  to  Fantin,  then,  would  seem  to  signify 
a  mood  rather  than  a  definite  change  of  thought  or 
aim,  a  mood  more  or  less  of  discouragement  and  self- 
distrust  that  reappears  frequently  in  the  correspond- 
ence and  lifts  only  as  he  sees  himself  realizing  his  own 
ideal.  "Always  the  same  story,"  he  complains,  "al- 
ways such  painful  and  uncertain  labour!  I  am  so 
slow."  It  may  be  doubted  if  Ingres,  had  he  laid  upon 
him  the  detaining  hand  of  classicism,  would  have  has- 
tened his  approach  to  his  goal.  The  energetic  and 
intelligent  effort  toward  self-discipline  kept  him  stead- 
ily critical  of  his  processes  and  accomplishment,  while 
leaving  him  free  to  seek  the  expression  of  form  in  his 
own  way  with  silvery  floating  lights  and  quivering 
shadows  that  define  without  insistence,  model  without 
intrusion,  and  express  nature  and  art  equally. 


UJ 

>-•  u 
J  z 

*£ 

1,1 


•s 


o 
o 


E   J 


FRENCH  ENVIRONMENT  29 

His  picture  of  The  Music  Room,  like  the  piano  pic- 
ture, was  painted  during  one  of  his  visits  to  his  sister 
in  England,  and  curiously  mingles  the  charms  of  two 
nations.  The  subject  is  an  interior  with  three  figures, 
one  the  girl  in  a  riding  habit,  the  second  a  little  girl 
reading,  the  third  a  lady  of  middle  age,  seated  at  a 
piano  and  seen  only  by  the  reflection  of  her  figure  in 
a  mirror.  The  young  "Amazon,"  as  Whistler  called 
her,  gathering  her  long  skirts  into  heavy  folds,  hold- 
ing her  whip  and  glove  lightly  in  her  small  hand,  and 
smiling  a  little  as  she  looks  intently  toward  some  scene 
or  object  out  of  the  canvas,  absorbs  the  attention.  Her 
youth  and  suppleness  and  strength,  the  rich  silhouette 
of  her  gown  against  the  light  background,  her  easy 
poise  carrying  the  suggestion,  not  too  strongly  em- 
phasized, of  arrested  motion,  place  her  among  the 
most  enticing  visions  of  English  girlhood.  As  the 
creation  of  an  individuality  we  think  of  her  as  in  the 
same  category  with  Rose  Jocelyn  and  Diana  War- 
wick. The  whole  group  in  its  pleasant  environment 
has  a  kind  of  frank  lovableness  rare  enough  in  any 
art  and  in  modern  art  increasingly  rare.  The  spirit 
of  the  subject,  not  merely  its  pictorial  aspect,  has  been 
so  completely  grasped  that  we  are  greatly  fortunate 
in  having  it  a  subject  of  intrinsic  charm.  The  little 
girl,  delightful  Annie  Haden  again,  dainty  and  fresh 
in  her  crisp  white  frock,  dreams  over  her  book  without 
a  trace  of  self-consciousness  in  attitude  or  expression. 
The  woman's  face  seen  in  the  mirror  is  delicate  and 
tender,  that  of  the  Amazon  of  peculiar  beauty  and 


30  THE  WORKS  OF  WHISTLER 

sweetness,  and  the  flowered  chintzes,  the  reading 
lamp,  the  elegant  homliness  of  the  softly  lighted 
room,  add  to  the  effect  of  a  painting  affectionately 
wrought,  a  sense  of  the  psychological  value  of  the 
scene  blending  with  that  care  for  ingenious  com- 
position and  exquisite  colour-harmonies  already  ap- 
parent as  dominating  characteristics  of  Whistler's 
art. 

It  is  a  temptation  to  linger  over  this  picture,  to  class 
it  with  the  portrait  of  the  artist's  mother  as  an  expres- 
sion of  something  so  sweet  and  fine  in  his  perception 
of  life  that  it  cannot  be  put  with  his  other  pictures  but 
remains  a  perpetual  benediction  and  perfect  in  its 
kind.  Many  others  give  a  more  purely  aesthetic  joy, 
but  has  Whistler  ever  revealed  more  intimately  his 
conscience  and  his  love  of  his  craft?  The  very  fact 
that  it  is  less  wisely  executed  than  his  later  work,  that 
the  signs  of  labour  are  not  so  successfully  banished 
from  it,  allows  the  patience  of  the  workmanship  and 
the  love  of  the  maker  for  what  he  has  made  more 
clearly  to  be  felt.  How  purely  English  the  scene  is! 
Yet  do  we  find  such  distinction,  such  reticence,  such 
absence  of  even  a  breath  of  sentimentality  in  any  Eng- 
lish picture  of  the  time,  or,  for  that  matter,  of  any 
time?  It  is  England  touched  by  French  reasonable- 
ness and  American  sentiment.  It  is  England  at  once 
spiritualized  and  rendered  scientifically.  Never  has 
her  simplicity  and  unassumingness  and  pleasant  hu- 
manity been  shown  with  more  impeccable  taste,  with 
more  severity  of  conception.  Subjectively  and  ob- 


FRENCH  ENVIRONMENT  31 

jectively  lovely,  The  Music  Room  is  a  priceless  record 
of  that  fleeting  instant  in  Whistler's  career  when,  in 
sympathy  with  his  friend  Fantin,  he  painted  domestic 
scenes. 

French  influences  as  he  gained  in  mastery  of  his 
medium,  sank  more  or  less  into  the  background  with 
him,  but  it  is  not  too  much,  certainly,  to  grant  to  his 
French  friends  to  own  that  their  influence  was  all  in 
the  direction  of  developing  in  an  orderly  fashion  the 
"beautiful  qualities"  as  he  frankly  called  them,  which 
he  had  received  from  nature.  If  he  resented  Courbet 
what  would  have  happened  had  he  chanced  to  begin 
his  career  as  a  member  of  the  Pre-Raphaelite  Brother- 
hood! After  eight  years  in  Paris,  with  many  jour- 
neys thence,  to  be  sure,  but  with  the  Paris  standards 
continually  before  him,  and  with  the  clear  acute  criti- 
cism of  the  informed  French  mind  always  at  his 
service,  he  was  at  least  protected,  notwithstanding  his 
own  avowal  to  the  contrary,  from  thinking  himself 
wonderful  before  he  was  wonderful. 

In  addition  to  his  sojourns  in  England,  he  had  been 
during  these  eight  years  in  Alsace-Lorraine  (in  1858) 
whence  he  brought  some  charming  etchings  that  are 
grouped  with  the  so-called  French  Set;  at  Perros- 
Guirec  in  Brittany  (in  1861),  at  Guethary  on  the  bor- 
derland of  Spain  (in  1862)  and  finally  at  Amsterdam 
(in  1863),  a  trip  which  he  has  commemorated  by  the 
etching  of  the  Tolhuis.  There  he  paid  tribute  to 
Rembrandt's  Night  Watch.  He  had  dreamed  also  of 
a  journey  to  Madrid,  and  crossing  the  frontier  on  one 


32  THE  WORKS  OF  WHISTLER 

occasion,  he  wrote  to  Fantin  with  emotion,  "Yester- 
day we  were  in  Spain ;  yes,  my  dear  fellow,  in  Spain !" 
This  pilgrimage,  however,  was  not  accomplished,  and 
M.  Benedite  urges  that  the  much  discussed  influence 
of  Velasquez  upon  Whistler's  art  was  only  the  in- 
fluence due  to  kinship  of  vision. 


ENGLISH  ENVIRONMENT 


CHAPTER  THIRD. 

English  Environment. 

IN  1863,  after  returning  from  Amsterdam,  Whistler 
decided  to  settle  in  London,  putting  an  end  to  the 
frequent  travels  which  involved  the  interruption 
of  breaking  in  new  models  and  the  detaining  adjustr 
ment  to  new  environments  and  conditions.  He  estab- 
lished himself  in  Cheyne  Walk  in  the  near  neighbour- 
hood of  Rossetti,  who,  not  yet  a  recluse,  moved  in  a 
circle  of  interesting  and  prosperous  people,  deeply  en- 
gaged with  art.  It  is  inconceivable  that  even  the  most 
independent  mind  could  come  into  contact  with  Ros- 
setti's  varied,  complex,  and  magnetic  personality  and 
with  that  painting  which  carried  the  torch  of  Italian 
romance  through  the  fogs  of  England,  without  feeling 
and  showing  the  effect  of  such  contact.  Whistler  did 
not  escape,  although  he  succumbed  to  a  less  degree 
than  frequently  is  assumed  by  his  critics. 

Rossetti  was  at  the  height  of  his  accomplishment. 
His  work  was  freed  from  the  archaistic  tendencies  of 
his  Pre-Raphaelite  youth,  it  had  richness  and  splen- 
dour and  imaginative  charm,  and  it  was  not  yet  in- 
fected by  the  morbid  qualities  that,  most  unjustly,  have 
come  to  be  considered  its  chief  characteristics. 

Between  1860  and  1865  he  had  produced,  among 
an  astonishing  number  of  subjects,  the  water-colour 
Dr.  Johnson  at  the  Mitre,  unique  both  in  conception 
and  treatment,  the  Joan  of  Arc,  also  unique  in  type 


36  THE  WORKS  OF  WHISTLER 

and  unusually  fine  in  tone  and  colour,  the  Lucretia 
Borgia,  the  first  Regina  Cordium,  painted  from  his 
wife,  and  the  original  sepia  study  for  a  stained  glass 
window,  Sir  Tristram  and  La  Belle  Yseult  drinking 
the  Love  Potion,  from  which  was  painted  the  beauti- 
ful water-colour  now  belonging  to  an  American  col- 
lector. In  1863  he  was  painting  the  Beata  Beatrix 
and  the  sumptuous  but  inexpressive  Helen  of  Troy, 
which  elicited  Mr.  Swinburne's  exuberant  admira- 
tion. To  that  year  also  belongs  the  delicate  little 
study  of  Ruth  Herbert  owned  by  Mr.  Bancroft  and 
more  sensitive  and  tender  than  any  work  of  Rossetti's 
that  followed.  A  mere  glance  at  the  accessible  repro- 
ductions of  these  pictures  is  sufficient  to  show  their 
entire  unlikeness  to  Whistler's  art.  Where  Whistler 
was  deft,  clear  and  discerning,  Rossetti  was  weighted 
with  his  idea,  laborious  in  his  execution,  and  too  in- 
trospective to  see  his  subject  with  impersonal  distinc- 
tiveness.  It  was  characteristic  of  Rossetti  that  he  ap- 
plauded Keats's  toast  to  the  confusion  of  Newton  "be- 
cause he  destroyed  the  poetry  of  a  rainbow  by  reduc- 
ing it  to  a  prism."  It  would  be  difficult  to  imagine 
Whistler's  saner  attitude  toward  science  thus  ex- 
pressed. Rossetti  agonized  over  his  poetry  but 
frankly  owned  that  he  found  painting  a  more  or  less 
mechanical  process.  Whistler's  continual  joy  in  the 
exercise  of  his  art  and  his  unwearying  research  that 
leaves  no  trace  of  the  mechanical  in  his  methods  are 
obvious  in  his  slightest  work. 

Nevertheless,   before   Whistler   became   Rossetti's 


ENGLISH  ENVIRONMENT  37 

neighbour  he  had  painted  a  picture  that  reflected  Ros- 
setti's  evocations  of  expressive  physical  beauty,  and 
passive  revery.  The  White  Girl,  which  bears  the  date 
1862,  differs  completely  from  the  "piano  picture"  and 
The  Music  Room  both  in  conception  and  execution. 
It  hung  for  a  time  in  the  Metropolitan  Museum  in 
New  York,  arousing  very  little  interest  on  the  part 
of  the  general  public,  according  to  the  former  author- 
ities of  the  Museum,  but  making  an  indelible  impres- 
sion upon  a  few.  It  is  a  portrait  of  a  soul  struggling 
with  early  conditions,  an  ideal  of  beauty  completely 
modern,  yet  steeped  in  the  spirit  of  wonder  and  awe 
belonging  to  the  world  of  old  romance,  the  world  in 
which  Rossetti  moved  as  a  native  and  patriot  but  to 
which  Whistler  was  a  stranger.  A  young  girl  in  a 
quaint  high-waisted  gown  of  low-toned  white,  is 
standing  on  a  fur  rug,  in  front  of  a  white  curtain. 
The  face  is  self-conscious,  subtle,  enchanting,  yet 
vaguely  repelling;  the  figure  has  an  indefinable  frail- 
ity,  a  light,  appealing  girlishness  and  awkwardness  of 
pose,  the  hint  of  moral  and  physical  angularity  never 
beyond  Whistler's  reach  and  never  quite  within  Ros- 
setti's.  The  low-toned  flesh,  the  dark  red  hair,  the 
creamy  and  grayish-white  draperies,  the  fur  rug,  the 
pattern  of  the  carpet,  suggest  in  the  colour-scheme 
which  they  compose,  Rossetti's  Lady  Lilith,  painted 
two  years  later,  and  it  is  suggestive  to  remember  that 
Rossetti  prior  to  his  acquaintance  with  Whistler, 
seems  to  have  painted  but  one  important  picture — the 
very  early  Annunciation — which  could  be  described 


1 4  6605 


38  THE  WORKS  OF  WHISTLER 

as  in  the  key  of  one  colour,  while  afterward,  he  fre- 
quently made  references  to  conscious  efforts  toward 
colour-harmonies,  speaking  of  "a  gradation  of 
grays"  in  the  Proserpine,  a  "lovely  effect"  of  white 
drapery,  white  marble  and  white  roses  combined  in 
The  Roman  Widow,  and  a  "study  of  varied  greens" 
in  The  Day  Dream.  Whistler's  colour  sense  and  Ros- 
setti's  were  so  different,  however,  that  even  in  the 
pictures  where  these  come  closest  to  one  another  it 
would  be  difficult  to  establish  anything  worthy  the 
name  of  a  resemblance,  and  Rossetti  was  even  less 
than  Whistler  open  to  any  outer  influences  as  his  ex- 
perience with  Ruskin  clearly  shows.  In  its  technique, 
The  White  Girl  has  a  very  distinct  likeness  to  Ros- 
setti's  characteristic  brush  work.  We  see  in  it  almost 
none  of  Whistler's  light,  beautiful  control  of  his  pig- 
ment. A  little  tormented  and  hard,  the  paint  is  put  on 
with  a  quite  thick  impasto,  and  is  moulded  rather 
than  brushed  into  a  texture  that  is  not  fully  life-like 
in  the  flesh  painting  or  supple  in  the  robe. 

For  M.  Benedite,  the  picture  has  souvenirs  of 
Millais,  but  it  is  impossible  to  think  that  the  essentially 
commonplace  gifts  of  Millais's  mind  gained  even  a 
momentary  sway  over  Whistler's  always  distin- 
guished art.  Millais,  like  all  the  Pre-Raphaelites,  had 
passed  under  Rossetti's  spell  and  had  produced  pic- 
tures that  fitted  into  the  mosaic  of  poetic  imagery 
and  mediaeval  sentiment  formed  by  the  corporate 
brotherhood.  Even  Holman  Hunt  had  not  failed  to 
contribute  to  the  romantic  spirit  animating  the  little 


Symphony  in  White,  No.  1. 
THE  WHITE  GIRL. 

Reproduced  by  kind  permission  of  John  G.  Whittemore,  Esq. 


ENGLISH  ENVIRONMENT  39 

group  of  innovators  while  Rossetti  was  still  among 
them  and  of  them.  When  they  went  their  separate 
ways  all  trace  of  romance  gradually  vanished  from 
their  works,  save  in  the  case  of  Rossetti  himself.  In 
his  art  it  was  an  essential,  inalienable  element,  and  its 
potency  is  seen  in  its  transforming  effect  upon  the 
more  prosaic  imaginations  of  his  fellow  painters  of 
the  Brotherhood.  Whistler,  whose  imagination  was 
infinitely  poetic,  could  resist  it  better.  The  White 
Girl  is  the  beginning  and  end  of  its  influence  upon 
him.  Of  Rossetti's  companions  none  was  so  little 
subjugated  by  his  imperious  vision.  Slightly  as 
Courbet  entered  into  the  work  of  Whistler's  youth, 
he  is  more  harmoniously  a  part  of  it  than  Rossetti  in 
The  White  Girl's  spiritual  drama;  while  Fantin  has 
more  in  common  with  it  to  the  last  hour. 

Nevertheless  this  picture  is  a  most  interesting  pro- 
duct of  Whistler's  brush.  It  shows  how  adequate 
was  his  intelligence  to  realize  a  purely  psycho- 
logical idea.  Although  inspired  from  without,  it  is 
a  true,  not  a  false  spirit  of  mysticism,  enveloped  in  a 
very  worldly  beauty,  that  looks  out  of  those  question- 
ing ghost-seeing  eyes,  and  is  deepened  by  the  droop 
of  the  rich  young  mouth,  the  slightly  startled  poise  of 
the  beautiful  head  on  the  long  neck,  the  straight-hang- 
ing arms  and  slim  sensitive  hands.  The  mood  is  one 
of  ecstasy.  Deep,  dim  meanings  seem  to  be  half  re- 
vealed, not  with  the  opulent  confidingness  of  the 
Italian  Rossetti,  but  with  the  reticence,  the  racial  shy- 
ness, of  Whistler's  transcendental  countrymen.  The 


40  THE  WORKS  OF  WHISTLER 

Joan  of  Arc  of  Bastien-Lepage  has  almost  the  same 
look  of  bewildered  exaltation,  with  the  difference, 
that  the  French  girl  is  listening  to  voices  from  an- 
other and  superior  world,  while  the  girl  in  Whistler's 
picture  listens  to  a  voice  of  her  own  accent, 
speaking  from  her  own  individuality.  No  clear  mes- 
sage can  be  read  in  the  puzzle  of  her  brow.  She 
was  painted  from  an  Irish  model,  and  if  this  was  the 
artist's  period  of  painting  only  what  he  saw  before 
him,  as  he  declares  it  was,  he  must  have  seen  all  the 
outward  signs  of  the  haunted  Celtic  soul.  The  delicacy 
with  which  he  realized  them  constitutes  the  picture's 
special  charm.  It  is  not  nearly  so  fine  in  arrangement 
or  so  subtle  in  its  play  of  line  as  The  Music  Room.  The 
forms  are  less  designed  to  bring  out  the  rhythm  of 
the  figure  and  even  the  colour,  though  rich  and  har- 
monious, is  a  little  heavy.  The  idea  has  loaded  the 
vehicle,  but  the  idea  is  exquisite.  Had  Whistler  con- 
tinued on  this  road,  we  feel  the  opportunity  of  the 
artist  to  communicate  poignant  secrets  of  the  spirit 
would  have  been  fulfilled  as  by  no  other  modern. 

Nothing,  however,  could  long  have  held  him  to  this 
story-telling  art ;  story-telling  in  the  most  appropriate 
and  pictorial  sense,  but  nevertheless  intensely  expres- 
sive and  literary.  Even  while  under  Rossetti's  shadow 
he  could  not  give  to  his  picture  a  title  revealing  any- 
thing but  the  painter's  point  of  view.  He  had  not 
painted  an  Undine  or  a  Psyche  or  Eurydice  or  Bea- 
trice; he  had  painted  a  girl  in  white  against  a  white 
background,  a  very  difficult  feat  to  accomplish  sue- 


ENGLISH  ENVIRONMENT  41^ 

cessfully,  and  nothing  could  be  better  than  to  call  her 
The  White  Girl  thus  indicating  to  the  public  the  prob- 
lem with  which  he  as  a  painter  was  concerned.  What 
the  public  wished  to  read  in  her  face  of  her  past  or  her 
future  or  of  the  fears  infesting  her  soul,  was  their 
affair ;  it  was  his  affair  to  place  tone  against  tone  and 
colour  against  colour  in  a  way  to  achieve  a  true"  rela- 
tion, and  he  was  free  to  challenge  the  observer  on  that 
ground  alone. 

It  is  hardly  necessary  to  recall  the  fact  that  this  was 
not  the  temper  of  the  English  painters  in  1862  or 
long  after,  and  M.  Duret  goes  so  far  as  to  attribute 
to  the  titles  chosen  by  Whistler  for  his  pictures,  par- 
ticularly the  musical  titles  which  he  later  adopted, 
much  of  the  misunderstanding  that  presently  arose 
with  his  English  public.  The  terms  "harmonies," 
"symphonies,"  "nocturnes,"  were  not  at  first  used  by 
him  even  for  the  pictures  to  which  they  were  most  ap- 
propriate, but  after  he  had  thought  of  them  he  seems 
to  have  liked  them  so  well  that  he  affixed  them  to  many 
of  these  as  secondary  titles  or  even  as  primary  titles 
giving  the  original  name  the  secondary  place.  Thus 
The  White  Girl  was  Symphony  in  White  Number  I 
and  The  Music  Room  became  Symphony  in  Green  and 
Rose.  The  peculiar  fitness  of  such  a  terminology  to 
Whistler's  tone  compositions  no  longer  needs  explana- 
tion, but  it  is  interesting  to  note  in  M.  Benedite's  refer- 
ences to  the  melomania  of  Fantin-Latour  and  his  par- 
ticular circle  and  the  inevitable  discussions  of  the  laws 
of  music  in  which  it  is  reasonable  to  suppose  that 


42  THE  WORKS  OF  WHISTLER 

Whistler  joined,  the  suggestion  of  a  closer  study  on 
his  part  of  the  analogy  between  accords  of  sound  and 
accords  of  colour  than  the  mere  choice  of  a  musical 
nomenclature  would  indicate.  How  far  Whistler  went 
in  his  investigations;  how  far  he  founded  himself  on 
science  in  applying  the  principles  of  music  to  his  har- 
monic arrangements;  how  far  he  joined  the  Impres- 
sionists in  their  study  of  Chevreul  and  Rood  and  their 
analysis  of  light,  must  be  a  matter  of  conjecture.  He 
himself  felt  that  he  plunged  very  deeply  into  the  whole 
matter,  writing  as  late  as  1871  that  he  believed  he  had 
made  progress  at  least  in  the  direction  of  the  science 
of  colour,  that  he  had  almost  entirely  sounded  it  and 
reduced  it  to  a  system.  In  a  somewhat  earlier  letter 
to  Fantin  (1868)  quoted  by  M.  Benedite,  he  goes 
more  explicitly  into  his  theories  of  colour  arrange- 
ment with  reference  to  some  flower-painting  upon 
which  Fantin  has  asked  his  criticism. 
v  "First,"  he  says,  "it  seems  to  me  that,  given  the  can- 
vas, the  colours  ought  to  be,  so  to  speak,  embroidered 
thereupon,  that  is  to  say  the  same  colour  should  re- 
appear continually  here  and  there,  like  one  thread  of 
an  embroidery,  and  thus  with  the  others,  to  a  greater 
or  less  degree,  according  to  their  importance,  the 
whole  forming  in  this  way  a  harmonious  pat- 
tern. .  .  .  Behold  the  Japanese  .  .  .  how 
well  they  understand  this.  It  is  never  contrast  that 
they  seek,  but,  on  the  contrary,  repetition."  He  then 
points  his  moral  in  the  friendliest  way  with  one  of 
Fantin's  studies: 


Green  and  Blue. 
"THE  DANCER." 

(Water-Colour.) 
Reproduced  by  kind  permission  of  R.  A.  Canfield,  Esq. 


ENGLISH  ENVIRONMENT  43 

"In  your  second  canvas  the  whole  is  first  of  all  a 
charming  pattern,  and  as  for  the  rest,  there  is  no  one 
who  could  render  it  like  yourself.  Faith,  how  perfect 
it  is ! — the  background  is  repeated  in  the  bouquet  and 
the  table  climbs  up  through  the  ruddy  grapes  and  is 
found  again  in  the  similar  tones  among  the  flowers! 
The  reds  of  the  fruits  are  repeated  in  several  places 
and  the  green  grapes — how  delicate  and  fine  in  colour 
they  are! — seek  other  greens  in  the  leaves.  It  is  a 
ravishing  pattern  and  delicious  in  colour !" 

It  requires  little  discernment  to  find  in  his  own 
works  the  application,  firmly  and  clearly  made,  of  this 
colour-theory.  An  especially  delightful  example  of 
a  rich  and  intricate  yet  delicate  colour  scheme  display- 
ing the  principle  of  repetition  in  the  fullest  degree,  yet 
escaping  entirely  the  dryness  of  a  formula,  is  found  in 
a  little  pastel  owned  by  Mr.  Mansfield  and  called  The 
Japanese  Dress.  It  is  a  full  length  drawing  of  a  girl 
in  the  Japanese  garb  indicated  by  the  title.  She  is 
standing,  holding  a  Japanese  umbrella  back  of  her 
head  with  her  right  hand,  and  with  her  left  hand  she 
holds  up  the  outer  robe  of  her  gorgeous  raiment.  The 
principal  colours  might  be  described  as  pink,  blue,  red 
and  yellow  but  the  complete  originality  of  their  effect 
depends  upon  the  certain  taste  and  knowledge  by 
which  their  action  upon  each  other  has  been  foreseen 
by  the  artist  and  a  crude  statement  of  their  separated 
qualities  fails  entirely  to  suggest  the  picture.  The  out- 
line is  in  black  on  brown  paper.  The  colours  of  the 
umbrella  are  deep  orange-yellow,  pale  blue  and  white. 


44  THE  WORKS  OF  WHISTLER 

There  are  touches  of  yellow  on  the  cheek  and  chin, 
the  hair  is  yellow,  and  the  outer  robe  is  lined  with  the 
orange-colour  of  the  umbrella.  The  cap  is  of  flesh 
colour  with  a  band  of  peacock  blue  and  has  crimson 
and  pink  balls  hanging  at  the  left.  The  under-robe 
is  of  dark  gray-blue  with  touches  of  bright  rose  and 
the  light  blue  of  the  umbrella  in  the  pattern.  Beneath 
this  is  seen  a  white  skirt  that  repeats  the  white  of  the 
umbrella.  The  pattern  of  the  outer  robe  is  in  the  pea- 
cock blue  and  flesh-colour  of  the  cap  with  flecks  of  the 
light  blue.  The  butterfly  is  a  strong  note  of  peacock 
blue,  the  background  is  flesh-colour  merely  brushing 
the  surface  of  the  brown  paper,  and  the  sash  is  of  bril- 
liant vermilion.  This  web  of  interlaced  colours  with 
its  alternate  exciting  and  soothing  of  the  optic  nerves, 
so  far  from  producing  an  appearance  of  motley,  of 
"bariolage"  to  use  an  expressive  Gallicism,  blends  in 
a  tone  as  homogeneous  as  the  flushed  gray  of  the  mists 
at  dawn.  Owing  to  Whistler's  choice  of  a  low  key 
even  where  the  colours  seem  to  be  light  and  gay,  it 
has  none  of  the  sparkle  of  the  Impressionist  colour- 
schemes,  but,  on  the  contrary,  is  distinctly  sober  in 
effect. 

A  much  simpler  pastel  also  belonging  to  Mr.  Mans- 
field, illustrates  the  same  principle  within  a  more  lim- 
ited arrangement,  It  represents  a  little  girl  (prob- 
ably Florence  Leyland)  with  fair  hair,  bending  over 
a  book.  The  outline  again  is  in  black  on  the  brown 
paper  used  in  order  to  avoid  a  ground  that  required 
killing,  which,  he  said,  was  a  waste  of  time  and  a 


ENGLISH  ENVIRONMENT  45  * 

handicap.  (')  The  contrast  between  this  black  line 
and  the  touches  within  it  of  fresh  pale  colour  in  itself 
conveys  a  prompt  aesthetic  pleasure.  At  first  glance 
the  colour  seems  to  be  little  more  than  the  pale  yellow 
of  the  hair  falling  over  the  face  and  the  rose-colour 
of  the  sash.  Upon  closer  examination  it  is  seen  that 
the  rose  of  the  sash  has  been  repeated  in  a  much 
lighter  and  slightly  yellower  tint  in  the  stenographic- 
ally  indicated  ruffles  of  the  dress  and  that  under  this 
delicate  rosiness  of  tone  plays  a  faint  blue ;  a  stronger 
note  of  the  blue  emphasizes  the  sleeve  and  it  enters 
also  into  the  white  of  the  cuff  increasing  its  cold  bril- 
liancy. The  rosy  tone  appears  again  with  modifica- 
tion in  the  mere  suggestion  of  flesh-colour  on  the 
hand.  In  these  simple  and  few  elements  we  have  the 
picture.  The  colours  are  not  only  present  but  are 
present  exactly  in  their  relative  importance  and  value, 
each  playing  accurately  the  part  assigned  to  it  in  the 
charming  dim  drama,  the  whole  uniting  like  the  soft 
humming  of  a  chorus  in  subdued  rehearsal. 

Such  undisguised  examples  of  the  scientific  combi-  «•-• 
nation  of  colours  and  tones  (scientific  at  least  in  the 
sense  that  the  effect  is  known  and  calculated  upon 
from  the  first)  are  precious  both  in  themselves  and 
from  the  clear  light  they  throw  upon  the  deliberation 
of  the  artist's  plan.  They  show  him  neither  impetu- 
ous nor  vague,  but  reflective  and  definite,  bringing  to 


O  "He  never  worked  upon  a  ground  that  required  killing.  That  was 
a  waste  of  time,  he  said,  and  a  handicap :  one  could  not  procure  clean 
crisp  tones — it  was  necessary  to  go  over  them  so  many  times."  "IVhist- 
ler  as  I  Knew  Him"  by  Mortimer  Menpes,  p.  75. 


46  THE  WORKS  OF  WHISTLER 

bear  upon  these  little  works  that  in  many  instances 
would  seem  to  the  eyes  of  the  inattentive  observer  the 
merest  sketches,  the  acuteness  and  force  of  a  discip- 
lined intelligence  each  act  of  which  in  the  domain  of 
art  had  its  logical  explanation.  It  is  not  always  easy 
to  distinguish  the  underlying  plan  of  his  colour  com- 
binations in  such  works  as  the  Nocturnes  for  ex- 
ample, where  the  values  are  close  and  the  tone  mys- 
terious to  the  last  degree,  but  it  is  perfectly  safe  to 
assume  that  he  never  worked  from  a  haphazard  or 
an  unstudied  palette. 

To  return  to  The  White  Girl,  this  composition  of  a 
single  figure  placed  on  a  long  narrow  canvas,  without 
accessories  and  with  a  symphonic  colour  arrangement 
heralds  the  larger  canvases  of  a  much  later  period, 
and  thus,  despite  its  suggestions  of  Rossetti,  is  an 
essentially  original  work,  marking  indeed  a  distinct 
step  toward  the  realization  of  a  strictly  personal  ideal. 

For  its  author  it  appears  to  have  been  of  rather  un- 
usual interest.  M.  Benedite  relates  that  it  plays  an 
important  part  in  his  correspondence  where  he  shows 
much  concern  for  its  exhibition  and  its  effect  upon 
the  public.  He  sent  it  to  the  Salon  of  1863  with  en- 
tire confidence  in  its  rejection,  arranging  with  Fantin 
to  have  it  placed  elsewhere  in  such  case.  It  was,  how- 
ever, a  fortunate  year  for  the  rejected  ones.  Their 
numbers  were  many  and  the  outcry  against  the  de- 
cisions of  the  Beaux-Arts  administration  was  great. 
The  Emperor,  Napoleon  III,  intervened,  and  upon 
his  order  the  unsuccessful  artists  were  permitted  to 


Symphony  in  White,  No.  2. 
THE  LITTLE  WHITE  GIRL. 


ENGLISH  ENVIRONMENT  47 

show  their  canvases  to  the  public  in  a  certain  part  of 
the  same  building  in  which  the  official  Salon  was  held. 
This  little  exhibition  was  called  the  Salon  des  Refuses 
and  has  become  famous  in  the  history  of  French  art. 
It  contained,  in  addition  to  Whistler's  White  Girl, 
works  by  Bracquemond,  Cals,  Cazin,  Chintreuil, 
Fantin-Latour,  Harpignies,  Jongkind,  Jean-Paul 
Laurens,  Legros,  Manet,  Pissarro,  and  Monet. 
Whistler  found  the  whole  affair,  the  official  repulse 
and  the  Emperor's  decision,  most  inspiriting.  "It 
is  charming,"  he  wrote  to  Fantin  from  Amster- 
dam, "it  is  charming  for  us — this  matter  of  the  exhi- 
bition of  the  Refuses!" 

The  White  Girl  proved  the  special  feature  of  the  ex- 
hibition, and  the  critics  were  almost  unanimous  in  dis- 
covering its  psychological  charm,  a  charm  that  in 
the  case  of  M.  Benedite  has  been  somewhat  dissi- 
pated by  time.  He  notes  that  the  very  characteristics 
which  seemed  so  novel  and  interesting  forty  years 
ago,  the  unusual  shape  of  the  canvas,  the  placing  of 
the  figure  in  the  background  of  the  picture,  the  rela- 
tions of  the  tones,  have  been  so  often  repeated  in 
recent  art  that  they  no  longer  are  surprising,  and  he 
finds  himself  frankly  rather  bored  by  "that  ecstatic 
personage  with  the  great  beryl-tinted  eyes,  who 
pauses,  flower  in  hand,  with  the  aspect  of  a  ghost  and 
the  wild  regard  of  an  Ophelia,  affecting  vague  preten- 
sions to  a  symbolic  meaning." 

Of  these  white  schemes  Whistler  painted  several,  of 
which  two,  at  least,  are  well-known  to  the  public.  The 


48  THE  WORKS  OF  WHISTLER 

second  is  called  The  Little  White  Girl:  Symphony  in 
White  Number  2,  and  represents  the  same  charming 
model,  standing  with  one  arm  resting  on  a  mantel- 
shelf above  which  is  a  mirror  in  which  her  face  is  re- 
flected. Her  right  arm  is  hanging  at  her  side  and  she 
holds  a  Japanese  fan  in  her  hand.  A  Japanese  vase  is 
on  the  mantel  and  a  spray  of  azalea  is  seen  in  the  lower 
right  hand  corner,  breaking  unexpectedly  in  upon  the 
diagonal  of  the  composition.  This  picture  was  ex- 
hibited at  the  Royal  Academy  of  1865  and  bore  upon 
its  frame  a  poem  (after  the  familiar  fashion  of  Ros- 
setti)  written  by  Mr.  Swinburne  and  emphasizing  the 
absence  of  any  message  in  the  young  face  depicted. 
The  last  verse  runs : 

I  cannot  tell  what  pleasures 

Or  what  pains  were, 

What  pale  new  loves  and  treasures 

New  years  will  bear, 

What  beam  will  fall,  what  shower, 

With  grief  or  joy  for  dower, 

But  one  thing  knows  the  flower,  the  flower  is  fair. 

Symphony  in  White,  Number  3,  has  no  other  title 
and  is  dated  1867.  The  composition  comprises  two 
figures,  one  half-lying,  half-sitting,  on  a  divan,  the 
other  sitting  on  the  floor  at  the  foot  of  the  divan  with 
one  arm  stretched  over  it. 

With  this  third  symphony  certain  studies  of  nude 
and  half  draped  figures  are  frequently  associated  by 
Whistler's  critics  as  sharing  its  suggestions  of  classic 
inspiration,  which,  M.  Benedite  thinks,  came  to 
Whistler  largely  by  the  way  of  the  English  painter 


I 


ENGLISH  ENVIRONMENT  49 

Albert  Moore,  whose  work,  of  a  pseudo-Greek  man- 
ner, he  is  said  to  have  admired,  but  with  which  his  own 
has  nothing  more  than  an  inspiration  in  common. 

Whatever  the  source  of  their  first  conception  may 
have  been,  these  drawings  and  paintings,  made  per- 
haps as  preliminary  studies  for  pictures,  perhaps  as 
pictures  in  themselves,  for  they  need  nothing  added  to 
complete  them,  reveal  a  side  of  Whistler's  art  that 
would  be  in  comparative  obscurity  without  them.  We 
have  his  expression  of  the  human  form,  often  quite 
freed  from  the  glamour  of  his  colour,  and  rendered 
only  with  a  black  chalk  outline,  or  again  fully  modelled 
in  colour  and  with  a  degree  of  relief  that  would  sur- 
prise an  observer  familiar  only  with  The  White  Girl 
or  The  Music  Room.  They  emphasize  in  him  the 
qualities  that  most  often  have  been  denied  him,  con- 
cern for  tactile  values,  to  use  Mr.  Berenson's  con- 
venient phrase,  and  close  attention  to  construction. 
A  number  of  them  represent  the  model  lying  on  a 
couch,  the  figure  half  turned,  giving  the  twist  of  the 
waist  so  easy  to  caricature  if  the  precise  value  of  the 
fold  in  the  flesh  has  not  been  felt  or  if  the  outline  has 
the  least  suspicion  of  rigidity.  Nothing  could  be  far- 
ther from  such  rigidity  than  these  supple  little  figures, 
so  instinct  with  the  movement  of  life  that  were  they 
to  change  their  position  before  your  eyes  you  would 
hardly  be  more  astonished  than  the  Japanese  artist 
who  complacently  watched  his  men  and  women  walk 
out  of  his  picture. 

Others  are  standing  with  truly  Greek  simplicity  of 


50  THE  WORKS  OF  WHISTLER 

pose,  embraced  in  a  large,  sweeping  outline  within 
which  the  sensitive  contours  of  their  lovely  forms  be- 
tray the  same  quickness  of  life  and  subtlety  of  model- 
ling. These  also  could  move,  could  turn  and  walk  and 
smile  and  speak.  They  are,  moreover,  creatures  of  a 
big  mould  though  so  dainty  in  their  lightness  of  poise 
and  grace  of  proportion.  They  have  the  deep  chests 
and  rounded  limbs  of  the  ancient  Aphrodites  and 
Ceres.  Where  they  are  slender  and  young  as  in  the 
instance  of  the  exquisite  water-colour  entitled  The 
Forget-Me-Not  (owned  by  Mr.  Mansfield)  they  are 
still  strong  and  normal  in  type  with  none  of  the  bony 
frailness  of  youth,  with,  on  the  contrary,  a  richness  of 
outline  that  requires  the  utmost  refinement  of  realiza- 
tion to  endow  with  that  elegance  characteristic  of 
Whistler's  representations  of  the  human  form. 

One  of  the  nudes  (owned  in  America)  has  been  on 
exhibition  on  three  occasions  at  least,  at  the  Compara- 
tive Exhibition,  held  in  New  York  in  1904,  at  the  Bos- 
ton Exhibition  of  Whistler's  works  and  at  the  Penn- 
sylvania Academy  Exhibition  in  1906.  This  is  The 
Little  Blue  and  Gold  Girl,  a  painting  in  which  both 
colour  and  form  have  an  arresting  force  and  a  myster- 
ious beauty  that  make  it  one  of  the  most  delightful  of 
his  works.  The  figure  of  the  girl  ivory-tinted  with 
warm  shadows,  is  relieved  against  a  blue  drapery 
that  pales  into  ashen  tones  and  deepens  into  pur- 
ples. Back  of  the  figure  is  a  window  through 
which  is  seen  a  river-view  wrapped  in  blue  mists. 
A  gray  vase  of  beautiful  proportions  is  at  the 


DRAPED  FIGURE  STANDING. 
(Pastel.) 

Reproduced  for  the  first  time  by  kind  permission  of  Howard  Mansfield,  Esq. 


ENGLISH  ENVIRONMENT  51 

right  of  the  picture  and  holds  a  spray  of  clem- 
atis. The  girl's  reddish  hair  is  gathered  into  a  yellow 
kerchief  with  a  blue  band.  Nothing  could  exceed  the 
firmness  and  lightness  of  the  little  creature's  poise 
upon  her  slim  legs,  or  the  grace  with  which  she  lifts 
her  round  long  arms.  The  rhythm  and  vitality  of  her 
contours  show  the  highest  sensibility  to  the  suppleness 
of  the  human  body  and  to  its  beauty  of  structure.  It 
is  a  modern  form  and  by  no  means  a  classically  per- 
fect one  but  it  is  young,  it  has  grace,  it  is  alive,  and 
these  facts  are  stated  in  the  picture  with  explicit  nota- 
tion of  all  its  refined  and  poetic  aspects.  The  bloom 
of  an  exquisite  adjustment  of  values  is  over  it.  It 
stands  as  the  full  expression  of  Whistler's  study  of  the 
nude. 

The  pastels  give,  however,  a  better  impression  of 
how  closely  he  has  observed  the  significant  modelling 
of  the  human  figure  for  the  reason  that  in  these  he 
frequently  uses  only  a  single  touch  of  the  chalk  to 
express  the  roundness  of  a  limb,  the  projection  of  a 
shoulder  or  back,  the  plane  of  a  chest.  He  isolates 
the  few  indications  of  light  and  shade  necessary  to 
make  us  know  that  his  figures  have  backs  when  you 
see  their  faces,  as  Fromentin  said  was  true  of  the 
drawings  of  Franz  Hals,  and  we  realize  the  precise 
muscular  stress  called  out  by  their  movements  and 
gestures.  One  of  Mr.  Mansfield's  drawings  repre- 
sents a  woman  of  great  nobility  of  form,  whose  classic 
drapery  does  not  disguise  her  classic  proportions,  and 
who  stands  leaning  with  one  arm  resting  on  a  shelf  or 


52  THE  WORKS  OF  WHISTLER 

ledge.  The  effect  is  rendered  by  the  slightest  means, 
but  the  disposition  of  the  weight,  the  swell  of  the  arm 
supporting  the  pressure  of  the  body,  the  relaxation 
of  the  other  arm,  the  capacity  of  the  whole  strong, 
buoyant  figure  to  move  with  energy  and  lightness,  are 
perfectly  felt.  These  are  the  facts  assential  to  our 
enjoyment  and  they  are  not  obscured  by  any  irrelev- 
ances. They  keep  alive  the  spirit  in  which  ancient  art 
realized  the  nude  by  their  consistent  rejection  of  all 
but  its  life-enhancing  and  aesthetic  attributes.  They 
touch  idealism  on  the  side  of  this  rejection,  but  they 
have  all  that  is  artistically  important  in  the  real. 

Through  them  we  seem  to  see  the  artist's  own  poetic 
vision  of  his  beautiful  art  in  concrete  form  as  "a  god- 
dess of  dainty  thought — reticent  of  habit,  abjuring  all 
obtrusiveness,  purposing  in  no  way  to  better  others." 
Without  the  due  appreciation  of  them  it  is  impossible 
to  do  justice  to  Whistler's  interests  in  the  things  which 
have  interested  all  great  artists.  The  qualities  per- 
sonal to  him  have  been  naturally  the  qualities  most 
stimulating  to  his  critics  but  they  are  wholly  signifi- 
cant only  in  their  connection  with  the  qualities  that 
unite  him  to  the  artists  of  the  past.  Detached  from 
these  they  suggest  an  eccentricity  not  to  be  found  in 
his  art  even  at  the  moments  of  its  greatest  originality. 

One  of  these  moments  is,  curiously,  that  of  his  frank 
representation  of  the  art  of  the  farthest  East. 


THE  ENTRANCE  OF  JAPAN 


CHAPTER  FOURTH.  v 

The  Entrance  of  Japan. 

IN  1862,  according  to  the  date  fixed  by  M.  Chesnau, 
a  little  shop  was  opened  in  Paris  on  the  Rue  de 
Rivoli,  by  a  man  and  his  wife  who  had  lived  in 
Japan  and  who  had  brought  back  with  them  embroid- 
eries, lacquers,  prints  and  porcelains  which  they  of- 
fered for  sale. 

The  way  to  their  success  had  been  prepared  by  the 
enthusiasm  of  the  French  etcher,  Felix  Bracquemond, 
who  in  1856,  had  discovered  a  part  of  Hokusai's 
Mangwa  in  the  hands  of  Delatre,  the  printer  of  etch- 
ings to  whom  it  had  come  incidentally  wrapped  about 
some  porcelains,  but  the  charm  of  its  wonderful  little 
drawings  was  promptly  felt  by  him  and  Bracquemond 
did  not  succeed  in  persuading  him  to  part  with1  it. 
Later,  however,  Bracquemond  found  it  in  the  hands 
of  the  wood-engraver,  Lavieille,  from  whom  he  ob- 
tained it  by  giving  in  exchange  for  it  the  rare  and 
curious  volume  on  wood-engraving  by  Papillon  which 
Lavieille  on  his  side  coveted.  This  incident  shows 
with  what  power  the  Japanese  master's  "drawing  as 
it  comes  spontaneously"  appealed  to  the  Western  stu- 
dent of  pictorial  realities.  Japanese  art,  especially  the 
art  of  the  prints,  was  practically  unknown  in  France 
at  this  time.  The  passion  for  lacquers,  porcelains, 
jades  and  bronzes  marking  the  reign  of  Louis  XIV, 
had  died  out,  leaving  many  precious  objects  in  the  col- 


56  THE  WORKS  OF  WHISTLER 

lections  of  the  great  amateurs,  but  little  or  no  trace 
upon  the  public  taste.  When  Bracquemond  had  ac- 
quired his  volume  of  the  Mangwa,  therefore,  he  felt 
that  he  held  the  key  to  a  new  world,  and  he  passed  it 
about  among  the  artists  of  his  acquaintance  with  an 
enthusiasm  which  they  were  not  slow  to  share. 

Thus  the  opening  of  M.  de  Soye's  "Porte  Chinoise" 
was  the  signal  for  an  infatuation  for  its  wares  that  in- 
vaded the  studios,  to  quote  M.  Chesnau,  "like  a  flame 
running  along  a  powder  trail."  Tissot,  Manet,  Fan- 
tin-Latour,  Degas,  Carolus  Duran,  Monet,  Solon, 
Jacquemart,  Barbedienne,  Christofle,  Falize,  artists 
and  artist-artisans,  trooped  to  the  little  shop  and 
exulted  over  the  beauty  and  novelty  of  the  objects 
found  there  with  an  emotion  very  different  from  that 
of  the  mere  seeker  after  new  things.  Each  recog- 
nised in  the  decorative  qualities  of  the  prints,  the 
colour  and  glaze  of  the  porcelains,  the  patines  of  the 
bronzes,  a  source  of  inspiration  for  his  own  work,  and 
each  took  away  with  him  suggestions  which  he  em- 
bodied in  his  technique. 

Whistler,  M.  Benedite  tells  us,  was  of  the  group  and 
not  the  least  ardent.  He  bought  stuffs  and  porcelains 
for  his  studio,  but  while  he  at  once  made  use  of  an  oc- 
casional vase  or  fan  or  rug  in  the  composition  of  his 
pictures,  it  was  not  until  after  he  had  taken  up  his 
residence  in  London  that  he  produced  the  series  of  so- 
called  Japanese  pictures  which  have  become  famous 
in  his  art.  It  is  difficult  to  fix  the  chronology  of  any 
but  his  dated  works  and  it  is  impossible  to  be  sure  that 


DIE  LANGE  LEIZEN,  OF  THE  SIX  MARKS. 

Reproduced  by  kind  permission  of  John  G.  Johnson,  Esq.,  Phila. 


THE  ENTRANCE  OF  JAPAN  57 

a  dated  picture  is  the  first  of  its  kind  without  a  com- 
plete and  authentic  record  of  his  art  to  serve  as  a 
guide.  No  such  record  is  accessible  at  the  present 
time,  but  M.  Benedite  considers  Die  Lange  Leizen, 
of  the  Six  Marks  the  first  of  this  series.  It  must  have 
been  begun  either  late  in  1863  or  very  early  in  1864,  as 
in  January  of  the  latter  year  Whistler  writes  to  Fan- 
tin  of  Die  Lange  Leizen,  telling  him  that  it  is  filled 
with  "superb  porcelains"  from  his  collection,  is  good 
in  arrangement  and  colour  and  represents  a  dealer  in 
porcelains,  a  Chinese  girl  engaged  in  painting  a 

pot.Q 

This  picture,  which  now  belongs  to  Mr.  John  G. 
Johnson,  of  Philadelphia,  is  peculiarly  interesting  as 
showing  how  completely  Whistler  passed  from  the 
psychological  mood  of  the  first  Symphony  in  White  to 
the  purely  decorative  mood  appropriate  to  his  new 
subject. 

The  colour  scheme  is  in  the  subdued  key  of  The 
Japanese  Dress  already  described.  There  is  not  one 
shrill  note.  The  primitive  colours  are  present  suffi- 
ciently to  give  fullness  and  resonance  to  the  harmony, 
but  the  general  tone  is  soft  and  grave,  and  the  ex- 
quisite surface  is  to  the  ordinary  oil-painting  what  the 
true  Japanese  lacquer  is  to  the  lacquer  of  commerce. 
The  richness  of  the  effect  is  composed  of  many  ele- 
ments making  an  intricate  but  unconfused  pattern  in 
which  the  local  colours  and  contrasted  surfaces  play 
into  a  unity  of  impression  without  losing  their  indi- 

O  The  model  was  Miss  Leyland, 


58  THE  WORKS  OF  WHISTLER 

vidual  clearness  of  shape  and  texture.  The  superb 
porcelain  jar  by  the  girl's  side  has  the  brilliancy  of 
porcelain  and  the  pattern  on  it  is  reproduced  with  as 
much  precision  as  the  artist  used  in  his  illustrations 
for  Sir  Henry  Thompson's  catalogue  of  Nankin  por- 
celains made  many  years  later.  The  other  vases  and 
the  cup  and  platter  are  drawn  with  equal  care  the  pat- 
tern on  each  having  its  special  character  scrupulously 
defined.  The  girl  wears  a  gray  robe  over  a  dark  blue 
skirt.  Its  decoration  consists  of  pale  red  bands  and 
an  embroidered  floral  pattern  in  red  with  spots  of 
green  and  blue,  a  pattern  so  delicately  and  precisely 
indicated  that  it  might  serve  as  an  embroiderer's 
model.  The  red  and  green  pattern  of  the  rug  on  the 
floor  is  also  clearly  defined.  A  darker  red  is  in  the 
table  cover  and  the  yellow  of  the  table  at  the  left  and 
the  background  above  it  has  a  golden  quality.  There 
is  no  strong  modelling  by  light  and  shade,  although 
the  forms  of  the  girl's  handsome  little  face  are  by  no 
means  cursorily  suggested  and  her  figure  is  round 
and  supple  under  its  long  draperies.  The  delicious 
rhythmic  line  that  runs  from  her  head  to  her  feet  and 
the  flowing  brushwork  emphasize  the  sense  of  tran- 
quillity produced  by  the  quiet  tone  and  softly  polished 
surface.  This  inner  harmony  of  design  and  colour 
penetrating  the  apparently  diverse  and  separated 
items  in  the  picture  speaks  more  eloquently  of  Whist- 
ler's instinctive  sympathy  with  Japanese  ideals  in  art 
than  any  of  its  incidental  features. 

The  picture,  Rose  and  Silver:  La  Princesse  du  Pays 


THE  ENTRANCE  OF  JAPAN  59 

de  la  Porcelaine,  dated  1864,  has  a  more  exclusively 
decorative  aspect  and  brings  into  the  mind  a  composite 
vision  of  Utamaro  and  Yeisen  and  Shunsen.  In  this 
superb  canvas  Whistler's  brush  plays  with  ease  and 
fervour  performing  miracles  in  the  way  of  indicating 
widely  diverse  textures  and  carrying  the  lightest 
films  of  paint  with  the  airiest  suggestions.  The  prin- 
cess stands  in  a  sinuous  pose  emphasized  by  the  sweep- 
ing lines  of  her  robe,  against  the  background  of  a  tall 
folding  screen,  an  iridescent  wonderful  figure,  painted 
with  a  gaiety  and  delicacy,  a  daring  and  vivacity,  that 
would  overwhelm  an  observer  familiar  only  with 
Whistler's  portraits  of  the  sombre  backgrounds 
and  restricted  range  of  colour.  The  lovely  gray 
of  the  under-robe,  the  poppy-red  sash  with  its 
lines  of  gold,  the  pale  purple  drapery  back  of 
the  figure  with  its  impalpable  veil  of  shimmering 
light;  the  gray  tone,  filled  with  air,  against  which 
the  dark  head  is  relieved,  the  creamy  pallor  of 
the  skin,  the  warm  transparent  shadow  of  the 
hair  upon  the  forehead,  the  soft  surface  of  tHe 
pottery  jar,  all  combine  in  an  effect  of  splendour, 
curiously  subdued  to  a  matchless  refinement  of  tone 

The  model  for  the  Princess  was  Christine  Spartali, 
a  younger  sister  of  the  Marie  Spartali  (Mrs.  Still- 
man)  who  posed  for  Rossetti's  Fiammetta.  William 
Rossetti,  speaking  of  her  in  connection  with  her  sister, 
says,  "she  also  was  a  beauty,  but  in  a  way  less  sym- 
pathetic to  Rossetti  who  did  not,  I  think,  ever  draw 
from  her."  Her  beauty,  strange  and  penetrating,  ap- 


60  THE  WORKS  OF  WHISTLER 

pears  in  the  Princess,  but  it  is  odd  to  think  of  it  as  not 
appealing  to  Rossetti,  for  as  Whistler  painted  her, 
she  resembles  the  Proserpine  and  Pandora  painted  by 
Rossetti  from  Mrs.  Morris,  rather  more  than  she  re- 
sembles the  Fiammetta  or  the  figure  in  Dante's  dream 
which  were  painted  from  her  sister.  The  deep  brood- 
ing eyes,  the  dusky  hair,  the  ripe  lips  and  long  neck, 
inevitably  bring  to  mind  the  distinguished  model  of 
Rossetti's  later  pictures  and  from  this  superficial  re- 
semblance has  grown  the  impression  that  La  Prin- 
cesse  also  shows  Rossetti's  influence,  but  M.  Duret 
rightly  argues  that  it  does  not.  No  one  familiar  with 
Rossetti's  painting  could  see  in  this  brilliant  example 
of  technical  dexterity  any  sign  of  him.  The  line  alone, 
vibrating  and  losing  and  finding  itself  in  its  swift 
flow  is  enough  to  make  the  essential  unlikeness  mani- 
fest, but  there  is  no  trait  or  touch  to  suggest  an  ex- 
ternal or  inner  likeness. 

Two  other  important  pictures  of  this  Japanese 
series  are  Caprice  in  Purple  and  Gold:  The  Golden 
Screen  (1864)  and  Variations  in  Flesh  Colour 
and  Green:  The  Balcony  (1867).  The  latter  rep- 
resents four  women  on  a  balcony  with  the 
the  Thames  beyond.  The  women  are  dressed  in  Jap- 
anese costumes  but  there  is  no  attempt  to  realize  a 
typical  Japanese  scene.  The  title  Variations  in  Flesh 
Colour  and  Green  indicates  the  colour  scheme  so  far 
as  Whistler's  colour  can  be  indicated  by  a  title — the 
flesh  colour  is  different  from  other  flesh  colours,  the 
green  is  a  kind  of  robin's  egg. 


THE  ENTRANCE  OF  JAPAN  61  " 

These  were  direct  results  of  Whistler's  admira-  ^ 
tion  for  the  art  of  Japan.  The  colours  are  entrancing, 
the  planning  of  the  spaces  and  accents  is  most  beau- 
tiful and  interesting,  the  light  and  shade  and  model- 
ling are  kept  decoratively  subordinate,  all  that  is  lack- 
ing to  make  the  observer  feel  himself  in  the  presence 
of  the  purest  art  is  a  deep  personal  sentiment.  "In 
the  majority  of  cases,"  writes  the  Japanese  critic  Sei- 
ichi  Taki,  "what  is  called  'a  poetic  sentiment'  in  art  is 
determined  to  be  such  by  some  point  of  hackneyed  tra- 
dition, be  it  historical  or  literary,  and  often  it  has  been 
so  clumsily  expressed  that  it  is  entirely  out  of  harmony 
with  the  very  ideas  which  the  artist  intends  to  portray. 
Such  sentiments  cannot  but  exert  conventional  effects, 
sometimes  ending  in  meaningless  allegories.  Such 
was  not  the  case  with  Sessu,  for  by  his  masterly  touch 
the  most  commonplace  scene  was  enlivened  with  an 
enthralling  sentiment  which  insensibly  makes  the  be- 
holder a  captive  to  the  poetic  charms  of  his  art." 
This  sentiment  which  Sei-ichi  Taki  attributes  to  his 
great  master,  less  clearly  felt  in  the  "Chinoiseries" 
above  referred  to,  invests  Whistler's  nocturnes  with 
poetic  charm. 

In  these,  in  his  river-views  and  in  many  of  his  paint- 
ings of  the  sea,  he  reached  a  point  of  expression  which 
a  Japanese  critic  would  probably  have  felt  was  the 
highest  to  which  he  could  aspire.  He  reached  the 
point,  that  is,  of  gathering  all  his  impressions  and 
memories  of  the  beauty  of  a  scene  into  a  synthetic 
statement  of  its  essential  reality,  eliminating  all  that 


62  THE  WORKS  OF  WHISTLER 

was  trivial  or  extraneous.  He  represented  in  these 
dusky  nights  and  veiled  mornings  the  appearance  of 
reality  and  not  the  facts  of  science.  He  filled  them 
with  the  "painter's  poetry"  of  which  he  speaks  in  his 
famous  lecture,  and  this  painter's  poetry  he  tells  us  is 
"the  amazing  invention,  that  shall  have  put  form  and 
colour  into  such  perfect  harmony,  that  exquisiteness 
is  the  result  .  .  .  the  nobility  of  thought  that 
shall  have  given  the  artist's  dignity  to  the  whole." 
A  Japanese  painter  might  have  spoken  just  these 
words.  This  mood  in  which  the  painting  of  nature 
becomes  a  matter  of  suggestion,  of  simplification,  of 
obedience  to  aesthetic  laws  rather  than  imitation  or 
even  close  representation  of  any  but  the  largest  truths, 
we  find  in  those  few  examples  that  have  reached  us  of 
Japanese  art  in  its  higher  forms.  His  sensitiveness 
to  the  characteristic  sentiment  of  a  scene  forms  a 
closer  link  between  Whistler's  art  and  that  of  the 
Japanese  great  masters  than  even  the  much-discussed 
decorative  quality  of  his  arabesques  and  colour 
schemes  and  his  sympathetic  rendering  of  this  senti- 
ment with  the  utmost  restraint  and  economy  of  means 
is  in  the  true  Japanese  tradition  so  far  as  we  can  trace 
it.  The  Nocturne  in  Green  and  Gold,  recently  ac- 
quired by  the  Metropolitan  Museum,  exhibits  to  the 
fullest  degree  his  power  not  only  to  select  from  nature 
the  elements  of  art  but  to  make  a  beautiful  notation 
of  an  intrinsically  beautiful  fact.  The  scene  is  Cre- 
morne  Gardens  at  night,  with  coloured  lights  and 
gaily  dressed  people  dancing  or  gathered  in  groups 


THE  ENTRANCE  OF  JAPAN  63 

at  little  tables.  An  illuminated  kiosk  is  at  the  right 
of  the  picture,  and  waiters  in  red  coats  are  here  and 
there  in  the  foreground.  It  does  not  require  especial 
energy  of  imagination  to  summon  to  the  mind  an  im- 
pression of  some  not  unlike  scene,  and  gather  from  it 
suggestions  of  the  beauty  held  in  the  vaporous  dark- 
ness of  sky  and  foliage,  the  contrasting  brilliancy  of 
fireworks  and  lanterns,  and  the  strange  mingling  of 
the  night's  austerity  and  the  crisp  bright  gaiety  of  the 
human  crowd.  All  this  he  has  conveyed  by  means  of 
a  design  which  subtly  extracts  the  dominant  quality 
that  pervades  the  whole  and  appeals  to  our  imagina- 
tion. We  have  only  to  follow  the  pattern  made  with 
infinitely  delicate  and  close  values,  by  the  masses  of 
the  trees  against  the  luminous  dusky  blue  of  the  sky 
and  the  rippling  line  of  varying  light  and  colour  that 
runs  along  the  populous  garden  to  realize  how  en- 
tirely the  mystery  of  that  visionary  beauty  is  sup- 
ported by  a  knowledge  of  the  fundamental  principles 
of  art  and  how  subtly  he  interpreted  the  doctrine  of 
Ingres,  that  "even  smoke  should  be  expressed  in  line." 
An  accident  to  the  canvas  also  serves  the  purpose  of 
the  student  curious  as  to  the  character  of  Whistler's 
colour.  A  little  break  that  has  been  repaired  has 
necessitated  retouching  in  one  spot,  and  the  tone  used 
contains  a  certain  amount  of  purple  obtained  by  the 
mixture  of  red  and  blue  pigment.  In  ordinary  light 
it  is  almost  indistinguishable  except  as  a  spot  from 
which  the  atmosphere  seems  suddenly  to  have  dropped 
out,  but  seen  from  one  standpoint  it  emphasizes  in  the 


64  THE  WORKS  OF  WHISTLER 

surrounding  gray  dusk  the  absence  of  the  red  and  blue 
so  often  combined  to  express  darkness  in  pictures  of 
night.  There  could  hardly  be  a  better  object  lesson 
for  the  practical  worker,  in  the  value  of  a  neutral  tint 
without  definite  colour  in  which  colour  is  called  out 
by  the  opposition  of  the  orange,  or  rose,  or  yellow, 
which  determines  the  character  of  the  colour  design. 
This  is  what  the  fireworks  and  the  little  lanterns  and 
the  light  green  of  the  little  booth  near  the  kiosk  mean 
to  the  picture;  they  fill  the  gray  atmosphere  with  the 
colour  of  the  night. 

Another  nocturne  of  the  Gardens  and  fireworks 
belongs  to  Mrs.  Samuel  Untermyer  of  New  York.  It 
is  called  Nocturne  in  Black  and  Gold:  The  Falling 
Rocket,  and  is  a  much  more  dramatic  arrangement. 
In  the  Metropolitan's  Nocturne  the  general  quiet  tone 
of  the  picture  is  hardly  interrupted  by  the  flecks  of 
brilliant  colour.  In  Mrs.  Untermyer's  a  concentrated 
blaze  of  light  fills  the  scene  with  splendour  and  there 
is  a  double  line  of  rising  and  falling  fire.  Here  again 
is  the  reproduction  of  a  beautiful  visual  image  by  the 
abstract  means  familiar  in  Japanese  art  and  only  re- 
cently familiar  in  Western  art.  The  dark  masses  of 
blackish  gray  foliage,  the  dusky  blue  sky,  the  smoke 
irradiated  against  it  and  cooling  and  graying  in 
colour  as  it  rises,  the  yellowish  gray  foreground,  make 
a  pattern  of  line  and  colour  lovely  in  itself,  that  would 
still  be  lovely  if  the  orange  and  yellow  of  the  fireworks 
were  stains  of  blood  and  carnage,  if  the  smoke  rose 
from  a  battle-ground,  if  the  dark  hulks  of  the  trees 


Nocturne  in  Black  and  Gold. 
THE    FALLING    ROCKET, 

Reproduced  by  kind  permission  of  Mrs.  Samuel  Untermyer. 


THE  ENTRANCE  OF  JAPAN  65 

were  heaps  of  slain.  The  beauty  is  absolutely  inde- 
pendent of  the  subject  and  the  sentiment  of  the  scene 
is  strictly  the  pictorial  sentiment.  The  exclusive  pro- 
priety of  this  sentiment  in  works  of  art  is  what  Whist- 
ler strove  to  impress  upon  his  hearers  in  his  "Ten 
O'Clock,"  and  what  Ruskin  was  instinctively  com- 
batting when  he  called  the  Nocturne  in  Black  and  Gold 
"a  pot  of  paint  flung  in  the  public's  face." 

In  certain  of  his  pictures  Whistler  introduced  an 
obviously  Japanese  device,  a  branch  of  leaves  or  blos- 
soms that  is  sharply  cut  off  by  the  frame,  as  the 
azaleas  in  The  Little  White  Girl,  and  the  spray  of 
leafage  silhouetted  against  the  water  in  one  of  the 
nocturnes  "in  blue  and  silver,"  and  this  not  always 
fortunate  detail  has  many  times  been  mentioned  as  a 
proof  of  his  affinities  with  the  Japanese.  In  order  to 
realize  how  little  this  accidental  arrangement  has  to 
do  with  the  truly  Japanese  spirit  of  a  composition  it 
is  only  necessary  to  observe  the  pictures  by  Rossetti 
in  which  a  part  of  a  rose-bush  strays  irresponsibly 
into  the  composition,  or  the  decorative  cherry-branch 
in  Lotto's  Christ  Taking  Leave  of  His  Mother,  to 
name  but  two  masters  of  many  who  have  served  them- 
selves with  a  similar  decorative  idea.  One  swallow  is 
far  more  adequate  to  make  a  summer  than  one  arti- 
ficial feature  to  make  a  Japanese  picture.  It  is  not,  *• 
perhaps,  putting  it  too  strongly  to  say  that  Whistler 
was  never  so  thoroughly  in  harmony  with  the  higher 
Japanese  ideals  as  when  nothing  in  his  picture  directly 
suggests  them,  The  exquisite  nocturne  (the  West- 


66  THE  WORKS  OF  WHISTLER 

minster)  owned  by  Mr.  Johnson,  is  Japan  itself  passed 
through  the  artist's  own  sensitive  personality.  The 
picture  is  little  but  air  and  light.  There  are  pale  tones 
of  turquoise  blue  and  a  gray  shadow  resting  on  the 
land,  two  squares  of  yellow  light  in  the  tower  and  a  re- 
flection in  the  water  at  the  right.  Out  of  these  elements 
he  has  made  the  transparent  dusk  and  the  pale  sum- 
mer heavens.  What  classic  model  of  the  Middle 
Kingdom  might  he  not  have  followed,  hand  in  hand 
with  a  Japanese  disciple,  to  gain  this  "sublimity  of 
tone"  this  "far-off  effect,"  this  "calm  and  reposeful 
expression,"  this  organic  relation  between  the  parts 
that  together  constitute  for  the  Eastern  world  the  soul 
and  spirit  of  landscape  art.^) 

His  touch  also  in  those  of  the  nocturnes  that  are 
known  to  me  is  precisely  what  one  would  imagine  the 
Japanese  touch  to  have  become  had  it  been  developed 
in  the  medium  of  oil-colour,  "feathery  light"  as  Mr. 
Cox  happily  calls  it,  and  of  a  gentleness  that  heightens 
the  effect  of  tranquility.  This  subtle  and  complete 
harmony  of  the  touch  with  the  colour-scheme  and  the 
tenderness  of  the  hour,  is  it  typical  of  any  race  so 
much  as  of  the  Japanese?  If  it  is  not,  we  are  safe 
in  assuming  that  Whistler's  art  was  not  merely  ex- 
ternally affected,  as  was  the  art  of  Bracquemond,  for 
example,  by  his  introduction  to  the  applied  arts  of 
Japan,  but  was  similar  in  essence  to  the  pictorial  art 
of  such  painters  as  Kano  Motonobu  and  Sesshu, 


C)  See  The  Kokka  No.  184  ("Characteristics  of  Japanese  Painting") 
and  No.  191  ("On  Chinese  Landscape  Painting"). 


THE  ENTRANCE  OF  JAPAN  67 

whose  work  we  are  only  just  now  beginning  to  know 
and  care  for,  and  to  whose  artistic  race  Whistler  be- 
longed in  the  sense  that  he  himself  recognised  when  he 
declared  "there  is  no  nationality  in  art." 


CHARACTERISATIONS 


D 


CHAPTER  FIFTH. 

Characterisations. 

URING  the  latter  half  of  Whistler's  life  he 
painted  many  portraits  and  made  many  rec- 
ords of  character  that  were  in  the  nature  of 
portraits,  though  not  identified  as  such.  In  these  his 
art  was  put  to  the  final  test.  Could  he  read  the  poetry 
of  human  nature  as  unerringly  as  he  read  the  poetry 
of  the  sky  and  air  ?  Did  he  live  up  to  his  own  defini- 
tion of  what  a  portrait  painter  should  do  and  "paint 
the  man  as  well  as  his  features?"  It  would  seem 
superfluous  to  make  such  inquiries  of  ourselves  when 
three  of  his  masterpieces  in  portraiture  were  produced 
over  thirty  years  ago  and  have  been  before  the  public 
in  multiplied  reproductions,  were  it  not  that  the  no- 
tices of  the  Memorial  Exhibitions  of  his  work  fre- 
quently recurred  to  the  old  charge  made  against  him 
that  he  lacked  interest  in  humanity  and  therefore  was 
not  the  greatest  type  of  artist.  If  he  did  lack  interest 
in  humanity,  his  portraits  are  certainly  not  convinc- 
ing evidence  of  such  a  failure.  On  the  contrary,  they 
seem  definitely  to  prove  the  opposite.  If  we  refer 
them  to  their  origin  in  human  types  we  find  them 
singularly  explicit  in  what  they  tell  us  and  true  to  the 
human  nature  we  know.  So  far  from  being  lay  fig- 
ures on  which  to  drape  an  arrangement  of  a  scheme 
of  colour  and  line  they  are  as  various  as  life.  In  fact, 
the  artistic  arrangement,  frequently  similar  enough 


72  THE  WORKS  OF  WHISTLER 

in  general  character  if  not  in  special  development,  is 
all  that  any  of  them  have  in  common.  There  may  be 
two  harmonies  in  gray  and  black  or  rose  and  gold, 
there  are  never  two  subjects  alike  in  temperament  and 
personality.  That  this  is  not  universally  recognized 
in  spite  of  the  fact  that  many  a  critic  or  commentator 
has  insisted  upon  it,  is  probably  due  to  the  artist's  pur- 
suit of  the  same  ideal  toward  which  the  nocturnes  led. 
In  portraiture  it  is  the  ideal  of  a  quintessential  like- 
ness from  which  all  accidental  effects  are  abstracted, 
and  which  is  lodged  so  deeply  within  as  to  be  inde- 
pendent of  the  fluctuating  emotions.  "The  expression 
of  the  face/'  said  Carriere  to  his  pupils,  "is  but  a  mask, 
distinct  from  the  permanent  character  which  it  modi- 
fies." No  one  has  realized  this  more  completely  than 
Whistler.  Burne- Jones  had  the  same  idea  in  mind 
when  he  said  with  unwonted  violence,  "Paint  a  man  or 
a  woman  with  the  damned  'pleasing  expression'  or 
even  the  'charmingly  spontaneous'  so  dear  to  the  'pho- 
tographic artist'  and  you  see  at  once  that  the  thing  is  a 
mask,  as  silly  as  the  old  tragic  and  comic  mask.  The 
only  expression  allowable  in  great  portraiture  is  the 
expression  of  character  and  moral  quality,  not  of  any- 
thing temporary,  fleeting,  accidental."  The  reason 
that  Burne- Jones  in  following  out  this  theory  obtained 
an  ideal  rather  than  an  abstract  likeness  may  be 
traced,  perhaps,  to  the  fact  that  his  mind  was  full  of 
preconceived  ideals  which  he  liked  to  impose  upon 
nature;  Whistler,  on  the  other  hand,  again  like  the 
Japanese,  put  nothing  into  his  pictures  that  he  did  not 


CHARACTERISATIONS  73 

learn  from  nature  itself.  His  analysis  of  a  character 
was  done  in  his  mind,  his  synthesis  appeared  upon  the 
canvas.  Where  the  character  is  clearly  marked  and 
one  that  we  are  more  or  less  accustomed  to  analyze 
for  ourselves  it  is  generally  greeted  with  understand- 
ing. In  the  portrait  of  the  artist's  mother,  for  ex- 
ample, although  it  is  said  to  have  met  with  opposition 
when  it  was  offered  at  the  Academy  of  1872,  is  so 
simple  a  rendering  of  character  that  the  little  children 
of  the  schools  where  reproductions  of  it  are  given  as 
a  subject  for  description,  recognise  its  dominating 
sentiment  and  the  appropriateness  of  the  quiet  room 
to  the  quiet  figure.  It  is  a  type  known  to  us  all  in  its 
general  aspect,  touching  in  the  most  hardened  of  us 
the  source  of  tears,  the  type  of  serene  age,  reconciled 
to  its  renunciations  and  calm  with  resignation  due  to 
noble  schooling  of  the  stubborn  mind.  The  frail 
shoulders,  the  head  somewhat  heavy  for  the  relaxed 
muscles  and  drooping  a  little  forward,  the  delicate 
hands  clasped  quietly  over  the  thin  handkerchief;  the 
smooth  hair,  the  daintiness  of  the  lace  cap,  the  far- 
seeing  eyes  that  seem  to  look  into  the  past,  all  com- 
bine to  make  a  lovable  impression  on  the  mind  before 
the  eye  has  distinguished  the  subtle  division  of  the 
spaces,  the  distribution  of  the  masses,  the  placing  of 
the  accents,  the  grave  beauty  of  the  values  in  the 
shadowy  wall  and  black  dress,  the  decorative  charm 
of  the  dark  curtain  with  its  intricate  pattern.  No  one 
has  painted  with  more  respectful  observation  the 
beauty  of  an  old  age  respectful  of  itself  and  free  from 


74  THE  WORKS  OF  WHISTLER 

the  suggestions  of  relaxing  will.  Without  that  refer- 
ence to  the  identity  of  the  sitter  by  which  Whistler 
was  inspired  to  one  of  his  most  widely  quoted  sayings, 
we  are  still  at  liberty  to  recognize  an  interpretation 
of  a  personality  which  adds  to  the  pictorial  beauty  of 
the  "arrangement"  the  beauty,  equally  rare  and 
equally  magical,  of  character  written  in  art. 

In  the  contrast  between  the  portrait  of  his  mother 
and  that  of  Carlyle  Whistler  passes  with  the  subtlest 
of  gradations  to  an  almost  opposite  type.  The  dif- 
ferences are  so  subtle  that  even  Mr.  George  Moore, 
who  saw  in  Whistler's  art  much  beside  the  obvious, 
considered  it  merely  as  "the  attempt  to  repeat  a  suc- 
cess." Both  portraits  are  arrangements  in  black  and 
gray,  in  each  the  figure  is  seated  in  profile  among  sur- 
roundings indicating  that  the  room  is  the  same  in  both 
pictures.  But  the  arabesque  made  by  the  outline  of 
the  old  philosopher  silhouetted  against  the  wall  is 
forcible  where  that  of  the  mother  is  calm  and  flowing. 
The  large  hat  perched  on  the  knee,  the  right  hand 
resting  on  a  cane,  the  coat  bulging  violently  at  the 
breast  and  the  more  erect  carriage  of  the  head  con- 
tribute to  an  angular  effect  quite  at  variance  with  the 
long  easy  sweep  of  line  in  the  earlier  portrait.  Even 
the  angles  of  the  chair  are  more  sharply  defined,  and 
this  ruggeder  outline  is  in  harmony  with  the  more 
furrowed  face,  the  more  anxious  expression,  the 
querulous  brow  and  obstinate  mouth.  There  is  a  sug- 
gestion of  pose  in  the  arrangement  that  does  not  ap- 
pear in  the  portrait  of  the  mother.  It  is  not  quite 


PORTRAIT  OF  CARLYLE. 

Courtesy  of  H.  Wunderlich  &  Company. 


CHARACTERISATIONS  75 

simple  and  frank,  and  fits  thereby  its  subject  whose 
own  absorption  in  the  "picturesque"  has  been  noted 
as  a  mark  of  his  mind's  perversity.  Yet  the  effect  in 
general  is  of  dignity.  The  head  especially  has  an 
element  of  grandeur  in  its  craggy  contours.  It  has 
struck  Mr.  Moore  that  the  picture  shows  an  absence 
of  intimate  knowledge  and  of  respect  and  reverence 
for  the  illustrious  sitter,  and  therefore  fails  to  show 
the  frame  of  mind  in  which  great  portraiture  is  done. 
Great  portraiture,  however,  is  among  other  things  the 
placing  of  a  subject  according  to  its  relative  import- 
ance, and  when  we  look  at  Whistler's  Carlyle  it  may 
fairly  be  argued  that  we  see  the  world's  Carlyle, 
mentally  as  well  as  physically  a  little  ailing,  impres- 
sive but  not  imposing,  not  reticent  or  sustained  by 
spiritual  peace;  not  representative  but  sharply  indi- 
vidual. Whether  Whistler  intended  to  convey  this 
impression  is  quite  beside  the  question.  We  cannot 
assume  that  he  did  or  did  not.  The  point  is  that  the 
impression  is  conveyed  and  that  it  seems  to  be  the  one 
nearest  to  the  truth.  "What  the  canvas  under  con- 
sideration tells  most  plainly  is  that  Mr.  Whistler  never 
forgot  his  own  personality  in  that  of  the  ancient 
philosopher,"  says  Mr.  Moore,  but  that  is  hardly  a 
fair  charge.  In  one  sense  there  could  be  nothing 
more  impersonal  than  a  critical  vision  unconcerned 
with  the  great  reputation  before  it,  concerned  only 
with  the  essence  of  the  man.  That  the  man  was  one 
who  could  sympathetically  quote  the  objurgation 
"may  the  devil  fly  away  with  the  fine  arts"  has  in- 


76  THE  WORKS  OF  WHISTLER 

spired  no  malice  in  the  presentation.  And  the  presen- 
tation is  purely  within  Whistler's  definition  of  art  as 
something  that  should  "stand  alone  and  appeal  to  the 
artistic  sense  of  eye  or  ear,  without  confounding  this 
with  emotions  entirely  foreign  to  it,  as  devotion,  pity, 
love,  patriotism,  and  the  like."  Upon  nature,  forever 
young,  the  past  writes  no  hieroglyphs  and  the  artist 
is  able  to  ignore  a  scene's  associations  in  painting  it. 
The  human  face  permits  no  such  freedom.  Character 
and  personal  history  mould  it  to  a  greater  or  less 
degree  and  the  artist  who  distinguishes  significant 
details  of  surface,  and  complex  relations  and  corre- 
spondences in  the  organic  whole  must  perforce  reveal 
character.  If  he  reveals  the  essential  and  permanent 
rather  than  the  transitory  mood  it  is  not  necessarily 
due  to  his  interest  in  his  sitter  but  to  an  imagination 
which  like  that  of  the  astronomer  or  the  engineer  is 
able  to  "body  forth  the  forms  of  things  unknown" 
from  the  concrete  facts  with  which  Jie  stores  his  mind. 
Wordsworth's  definition  of  imagination  or  explanation 
of  its  manner  of  working,  might  indeed  serve  as  a  de- 
scription of  the  kind  of  art  produced  by  Whistler 
wherever  the  question  of  representation  comes  in. 
"When  the  imagination  frames  a  comparison,"  he 
says,  "if  it  does  not  strike  on  the  first  presentation,  a 
sense  of  the  truth  of  the  likeness  from  the  moment  it  is 
perceived  grows — and  continues  to  grow — upon  the 
mind ;  the  resemblance  depending  less  upon  outline  of 
form  and  feature  than  upon  expression  and  effect, — 
less  upon  casual  and  outstanding,  than  upon  inherent, 
internal  properties." 


Arrangement  in  Gray  and  Black. 
PORTRAIT  OF  THE  PAINTER'S  MOTHER. 

Courtesy  of  H.  Wunderlich  6t  Company. 


CHARACTERISATIONS  77 

In  his  portraits  of  children  Whistler  has  particu- 
larly shown  his  austere  quality.  He  has  been  as  re- 
spectful of  the  rights  of  childhood  as  the  secondary 
painters  of  children  have  been  disrespectful.  Compare 
with  Sir  Joshua  Reynolds's  children,  for  example, 
Whistler's  Miss  Alexander  or  Little  Rose  of  Lyme 
Regis  or  Chelsea  Girl.  Sir  Joshua  sees  the  child 
egotistically  in  every  case,  from  the  point  of  view 
of  his  own  pleasure  in  its  pretty  attitudes  and  soft 
curves.  Little  Penelope  Boothby  and  The  Strawberry 
Girl  in  spite  of  their  charm  or  because  of  the  cheap 
and  superficial  character  of  their  charm  have  not  the 
slightest  interest  as  individuals.  Not  one  of  Whist- 
ler's children  have  that  capacity  for  boring  one.  The 
portrait  of  Miss  Cicely  Henrietta  Alexander,  to  give 
its  proper  title,  is  not  only  a  Harmony  in  Grey  and 
Green,  it  is  an  interpretation,  conscious  or  otherwise, 
of  the  spirit  of  childhood,  not  only  its  innocence  but  its 
pride,  not  only  its  fresh  spontaneity  and  charm  but  its 
interrogation  and  knowledge,  in  a  setting  as  appro- 
priate in  its  conception  to  the  subject  of  the  portrait 
as  the  quiet  environment  of  the  mother.  How  com- 
pounded of  inner  moods  and  judgments  is  that  buoy- 
ant little  figure,  stepping  forward,  her  hair  a  luminous 
blond  cloud  against  a  light  background,  her  eyes 
turned,  not  wholly  without  covert  resentment,  toward 
the  spectator,  her  beautiful  little  dress,  transparent 
and  crisp,  standing  out  from  the  slim  form,  her  hat 
with  its  trailing  plume  held  in  a  nonchalant  hand,  be- 
hind her  a  jaunty  spray  of  daisies,  about  her  head  two 


78  THE  WORKS  OF  WHISTLER 

fluttering  butterflies.  M.  Benedite  has  given  a  rapt- 
urous account  of  the  colour-scheme  which  harmonizes 
with  all  the  other  suggestions  of  youth  and  dainty 
beauty.  (*)  x 

If  the  Miss  Alexander  gives  us  the  pride  of  child- 
hood united  to  the  daintiness  and  elegance  to  which 
Whistler  was  peculiarly  sensitive,  we  see  it  no  less  in 
The  Chelsea  Girl,  owned  by  Mr.  Alexander  J.  Cassatt, 
united  to  quite  different  attributes.  This  is  a  child 
of  the  streets,  standing  legs  astride  and  arms  akimbo, 
her  cheeks  indomitably  rosy,  an  apron  over  her  dark 
un-childish  dress,  a  brown  hat  tied  under  her  firm 
little  chin,  a  bow  of  ribbon  of  exquisite  yellow  bright- 
ening her  coarse  garb.  As  a  distinguished  and  sober 
colour-harmony  of  inimitable  grays  and  yellows,  and 
as  an  example  unusual  in  Whistler's  art  of  gay  and 
daring  brushwork,  this  canvas  is  sufficiently  a  joy  to 
the  beholder,  but  it  is  also  one  of  the  canvasses  that 
prove  the  artist  more  an  explorer  of  the  spiritual  side 
of  his  subjects  than  his  own  words,  quoted  and  re- 
quoted,  would  lead  the  reader  not  also  an  attentive  ob- 
server of  his  work  to  believe. 

It  would  be  difficult  to  imagine  anything  more 
acutely  rendered  from  the  psychological  point  of  view 
than  this  initiated  little  creature,  not  more  than  eight 
or  ten  years  of  age,  with  her  grave  and  bold  eyes,  her 
aggressive  decision  of  pose — the  pose  of  one  instinct- 


O  The  portraits  of  Carlyle  and  Miss  Alexander  are  known  to 
the  present  writer  only  in  reproductions.  The  fine  coloured  prints 
recently  imported  are  said  to  give  a  quite  remarkable  idea  of  the  colour. 


PORTRAIT  OF  MISS  CICELY  HENRIETTA  ALEXANDER. 

Courtesy  of  H.  Wunderlich  &  Company. 


CHARACTERISATIONS  79 

ively  aware  that  only  the  fighters  of  her  class  are  the 
survivors — her  whole  air  of  pitiful  bravado ;  even  her 
ugly  little  costume  caressed  into  loveliness  by  a  tender 
and  reconciling  art.  A  sentimentalist  or  even  a  painter 
a  very  little  less  antagonistic  to  pictorial  cant  would 
have  been  likely  to  make  an  obvious  appeal  to  the  syn> 
pathy  of  the  beholder  in  presenting  a  type  so  touching 
and  suggestive.  Bastien-Lepage  would  have  filled 
the  face  with  yearning  and  weariness,  Sir  Joshua 
would  have  given  her  some  violets  to  sell.  Whistler 
selected  the  outer  facts  that  told  the  inner  truth  of 
her  intricate  little  personality  and  confused  them  by 
no  extraneous  rhetoric. 

Less  enigmatic,  but  not  less  subtly  realized  is  the 
Little  Rose  of  Lynie  Regis,  a  half-length  figure  owned 
by  the  Boston  Museum  of  Fine  Arts  and  said  to 
have  been  painted  at  the  village  of  Lyme  Regis 
in  Dorset  when  Whistler  was  there  in  1895. 
Nothing  could  be  more  unlike  the  sophisticated 
arrogance  of  the  Chelsea  waif  than  the  tidy  sim- 
plicity and  gentle  seriousness  of  this  little  Rose  on 
whose  face  are  written  in  unmistakable  charac- 
ters amiability  and  the  tendency  to  obedience,  whose 
clasped  hands  and  trusting  eyes  give  the  impression  of 
docility.  She  also  may  be  called  a  child  of  the  people, 
perhaps,  but  of  how  different  a  people,  with  what  op- 
posite traditions,  surroundings  and  ideals!  Thus  to 
have  discriminated  between  types  of  the  two  classes 
with  such  perfect  lucidity  and  directness,  without  a 
shred  of  adventitious  aid,  without  a  revealing  acces- 


80  THE  WORKS  OF  WHISTLER 

sory  or  a  suggestion  of  a  typical  occupation  or  amuse- 
ment, by  merely  the  determining  differences  of  pose, 
expression  and  feature,  and  by  the  way  of  wearing  a 
little  apron,  is  in  itself  sufficient  to  suggest  if  not  to 
prove  that  Whistler  took  as  much  as  the  painter's 
usual  "human  interest"  in  his  subjects.  Another  in- 
terpretation of  what  we  may  call  the  competent  types 
is  The  Little  Lady  Sophie  of  Soho,  a  child  of  the 
studios,  and  one  of  the  most  vivid  of  his  characterisa- 
tions. The  bold  refinement  of  her  bearing,  her  firm 
mouth,  the  superb  gesture  of  her  arms,  compose  an 
effect  of  extraordinary  distinction. 

Quite  a  different  aspect  of  childhood,  less  accentu- 
ated in  character  but  with  the  charm  of  a  greater 
beauty,  is  shown  in  the  Pretty  Nellie  Brown  owned  by 
Mr.  Frank  Lusk  Babbott,  of  Brooklyn,  New  York. 
This  enchanting  little  picture  is  the  quietest  and  most 
delicate  rendering  of  a  rather  fragile  grace,  a  rather 
baffling  personality.  Deep  mild  eyes  look  out  with 
an  unquestioning,  unreflective,  softly  indifferent  gaze 
from  a  lovely  oval  face  enveloped  by  a  shimmering 
cloud  of  light  brown  hair.  The  recondite  simplicity 
of  the  colour  scheme  is  only  hinted  at  in  the  "rose  and 
gold"  of  the  title.  It  is  a  dull  rose  deepening  in  the 
background  almost  to  crimson  and  of  the  curious 
grayish  tinge  that  brings  the  phrase  "ashes  of  roses" 
into  the  mind.  The  outer  garment,  of  this  colour, 
opens  at  the  throat  over  a  filmy  blouse  of  palest  pink, 
modified  by  yellow.  The  flesh  tones  are  warm,  but 
less  so  than  in  the  Little  Lady  Sophie,  which  also  is  a 


CHARACTERISATIONS  81 

harmony  in  rose  and  gold.  The  eyes  are  the  dark 
accent  of  the  face  and  the  modelling  about  them  is 
definite  with  sharp  touches  at  the  corners.  The  hair 
has  the  neutral  quality  of  raw  umber  in  its  dim  tones 
yet  it  is  not  lacking  in  life.  The  modelling  of  the  face 
is  accomplished  as  in  many  of  Whistler's  later  works 
with  the  slightest  alterations  of  tone,  and  the  rather 
coarse  canvas  everywhere  shows  through  the  films  of 
pigment.  The  brushwork  is  hardly  brushwork  at  all, 
but  a  mere  staining  of  the  canvas  with  a  few  tones  that 
melt  into  one  another  by  gradations  felt  rather  than 
seen  and  seem  to  withdraw  within  a  pale  twilight  that 
softens  without  obscuring  every  form  and  plane. 

The  gray  ground  which  Whistler  often  (though  by 
no  means  inevitably)  used,  shows  particularly  in  the 
hands  which  are  defined  by  the  thinnest  possible  film 
of  flesh-colour  and  have  the  look  of  extreme  frailty 
not  uncommon  in  the  hands  of  children  of  ten  or 
twelve. 

This  picture  was  painted  on  as  late  as  1900,  having 
been  many  times  gone  over  before  its  completion. 
Whistler  was  then  over  sixty-five  years  of  age  and 
within  three  years  of  his  death,  but  his  touch  upon  the 
canvas  was  as  sensitive  and  certain  as  in  his  earlier 
days.  It  is  notable  that  old  age  did  not  produce  with 
him  that  relaxation  of  will  and  nerve  that  so  often 
accounts  for  what  we  commonly  call  "breadth"  in  the 
later  style  of  the  great  masters.  The  training  of  his 
hand  to  exquisite  precision  and  the  care  bestowed  by 
him  upon  all  the  details  of  his  workmanship  bore  fruit 


, 


82  THE  WORKS  OF  WHISTLER 

in  his  ability  to  keep  to  the  end  the  precious  quality  of 
his  art  He  could  do  little  things  as  well  at  sixty  as  at 
thirty, — years  robbed  him  of  nothing  essential  to  the 
close  web  of  his  workmanship.  He  neither  drops  his 
stitches  nor  blurs  his  page.  He  is  not  forced  to  the 
pathetic  long  stroke  of  a  hand  that  cannot  trust  itself 
to  make  a  short  one.  Almost  as  though  in  defiance  of 
the  common  enemy  as  age  approaches  we  see  him  pro- 
ducing numberless  little  pictures,  each  one  of  which 
is  a  testimony  to  the  quickness  of  his  sight,  the  power 
of  his  memory,  the  deftness  of  his  hand,  the  adequacy 
of  all  his  faculties  to  answer  to  his  call.  The  refine- 
ment of  old  age  is  as  impressive  as  its  coarseness  is  re- 
volting, and  each  of  Whistler's  late  works  is  a  monu- 
ment to  his  self-discipline.  No  man  has  ever  died  and 
left  behind  him  a  product  more  evenly  free  from  the 
accidents  of  mortality,  more  purely  the  emanation  of 
the  mind  and  temperament.  So  far  as  his  art  went 
the  old  age  he  is  said  to  have  dreaded  never  was  his. 
His  interpretations  of  children,  always  peculiarly 
discerning,  grew  perhaps  more  comprehending  and 
tender,  a  number  of  those  belonging  to  his  later  years 
having  an  especial  richness  of  sympathy  with  the 
ardour  and  reserve  of  childhood  and  an  indescribable 
delicacy  of  interpretation.  These  little  creatures,  of 
which  there  are  many,  each  unconventional,  unpre- 
tentious— thoroughly  alive,  bear  striking  witness  to 
Whistler's  faculty  of  rendering  character,  but  they  are 
only  a  small  part  of  all  the  work  that  bears  such  evi- 
dence. His  full  length  portraits  of  men  and  women 


Arrangement  in  Black,  No.  3. 

PORTRAIT  OF  SIR  HENRY  IRVING  AS  PHILIP  II. 
OF  SPAIN. 

By  land  permission  of  George  C.  Thomas.  Esq. 


CHARACTERISATIONS  83 

are  both  numerous  and  varied,  although  the  colour 
harmony  in  many  of  them  is  in  the  key  of  black,  pro- 
ducing an  apparent  similarity  among  them.  The 
types,  however,  are  perfectly  embodied  and  differ- 
entiated. The  portrait  of  Miss  Rosa  Corder,  belong- 
ing to  Mr.  Canfield,  is  a  breezy  and  vivid  picture  de- 
spite its  black  dress  against  an  almost  black  back- 
ground. It  shows  a  woman  with  a  strong  profile,  in 
a  fur-trimmed  jacket,  holding  her  hat,  one  might  say 
swinging  it  somewhat,  in  her  right  hand.  Splendid 
as  pure  painting,  it  is  no  less  splendid  in  its  vigorous 
individuality,  its  suggestions  of  movement  and  en- 
ergy and  activity  of  mind.  The  Henry  Irving  as 
Philip  II,  has  precisely  the  touch  of  dramatic  gesture, 
not  emphasized  or  to  the  slightest  degree  insisted 
upon,  but  hinted  at  in  the  clutch  of  the  hand  at  the 
chain  and  the  lifting  of  the  eyebrow  that  brings  the 
actor  before  us  in  his  least  exaggerated,  most  uncari- 
catured  aspect. 

In  the  Portrait  of  a  Lady,  owned  by  Mr.  Cassatt, 
the  small,  beautiful  hand,  the  direct  serene  gaze,  the 
quiet  poise,  the  severe  taste  of  the  arrangement  all 
play  into  the  total  effect  of  extreme  elegance.  In  the 
portrait  of  Lady  Archibald  Campbell  (The  Lady 
with  the  Yellow  Buskin)  the  supple  figure  lightly 
turned,  the  small  head  sunk  in  the  deep  furs,  the  small 
foot  in  its  handsome  little  shoe,  the  droop  of  the  mouth 
and  line  of  the  brow,  as  delicately  indicated  as  unmis- 
takable in  their  precision,  are  eloquent  of  refined 
caprice. 


84  THE  WORKS  OF  WHISTLER 

Mr.  Pope's  Carmen  is  the  genius  of  the  gypsy  race, 
unique,  I  think,  in  Whistler's  painting  on  the  side  of 
its  rude  brush  strokes  and  its  arrest  of  development 
at  the  point  of  powerful  realisation  where  his  habit 
I  was  to  proceed  to  subtle  suggestion,  and  unique  also 
\  in  its  bold  interpretation  of  a  barbaric  nature.  It  is  one 
of  the  few  pictures  that  stand  out  as  his  experiments 
in  what  might  be  called  the  athletic  type* of  art,  a 
type  demanding  force  rather  than  intuition  or  poetic 
imagination,  and  it  is  especially  valuable  as  showing 
the  artist's  ease  in  handling  such  an  alien  subject  and 
his  feeling  that  with  it  he  could  dispense  with  the 
usual  refinements  of  his  craft. 

In  the  portrait  of  Senor  Sarasate,  the  violinist,  the 
sensitiveness  of  the  musician  is  noted,  not  as  an  inde- 
pendent quality,  but  expressed  with  the  greatest 
subtlety  in  union  with  the  mobility  and  eagerness  of 
the  Latin  race.  The  portrait  of  Comte  Robert  de  Mon- 
tesquiou-Fezensac  is  the  epitome  of  dilettantism. 

In  none  of  these  portraits  which  show  something  of 
Whistler's  range  but  by  no  means  exhaust  it,  do  we  feel 
that  the  painter  has  failed  to  capture  the  air  that 
makes  his  subject  different  from  any  other  subject, 
that  saves  it  not  only  from  commonplace  in  general 
but  from  its  commonplace,  that  disengages  from  the 
every-day  familiar  aspect  the  record  made  upon  the 
features,  the  gestures,  the  figure,  by  habits  of  thought 
and  feeling,  and  by  inherent  traits.  Everyone  knows 
the  answer  he  made  on  the  occasion  of  the  celebrated 
Ruskin  trial,  to  the  judge  who  inquired  of  him  whether 


CHARACTERISATIONS  85 

he  did  not  think  two  hundred  guineas  a  large  sum  to 
ask  for  a  picture  that  had  been  painted  in  a  day.  "1 
ask  it,"  he  said,  "for  the  knowledge  of  a  lifetime."  It 
is  obvious  that  to  treat  a  subject  synthetically  and  yet 
fill  it  with  suggestiveness  and  keep  in  it  the  unwearied 
incidental  look  of  a  thing  done  easily  involves  an 
amount  of  labour  of  mind  unknown  to  the  painter  who 
relies  chiefly  on  his  joyous  enthusiasm  to  impart  the 
look  of  ease  and  happiness  to  his  finished  work. 
Whistler,  however,  went  beyond  all  usual  bounds  in 
his  patience  and  persistent  search  for  the  intimate 
aspect  and  the  appearance  of  spontaneity  in  the  execu- 
tion. M.  Duret  tells  us  how  he  produced  the  little 
lithographic  portrait  of  Stephen  Mallarme.  The  por- 
trait was  to  be  the  frontispiece  of  the  volume  of  Mal- 
larme's  Vers  et  Prose,  published  in  1895.  Whistler 
kept  Mallarme  posing,  working  rapidly,  but  dis- 
satisfied with  one  after  another  of  the  drawings  made, 
finding  himself  not  yet  able  to  penetrate  to  the  abso- 
lute character.  Mallarme  became  discouraged  and 
lost  all  hope  of  a  success,  when  the  artist  finally 
achieved  a  drawing  with  the  charm  of  swift  improvis- 
ation but  holding  all  the  accumulated  observation  of 
the  many  preliminary  efforts.  It  is  only  necessary  to 
compare  the  two  reproductions  in  M.  Duret's  book, 
one  of  the  finished  portrait,  the  other  of  one  of  the  at- 
tempts, to  see  to  what  depths  that  observation  went, 
and  how  the  mind  and  temperament  of  the  poet  found 
their  expression  in  the  few  touches  of  the  crayon  that 
show  the  action  of  the  head,  the  arm,  the  mobile  eye- 


86  THE  WORKS  OF  WHISTLER 

brow  and  flexible  mouth.  "Those  who  knew  him 
might  believe  they  heard  him  speak,"  M.  Duret  says, 
and  those  who  knew  him  not  may  believe  they  see  him 
think. 

Whistler  also  painted  M.  Duret's  portrait  and  its 
little  history  throws  much  light  on  the  method  used 
by  the  artist  in  the  portraits  of  this  period.  Whistler 
and  his  friend  had  been  discussing  the  portrait  of  the 
President  of  some  Society  or  Corporation  who  had 
been  painted  in  the  robes  of  his  office  of  the  customary 
antique  cut,  but  with  his  hair  arranged  in  the  fashion 
of  the  day.  This  appearing  to  Whistler  "in  detestable 
taste,"  the  conversation  turned  on  the  proper  pose 
and  costume  for  a  portrait.  It  was  agreed  that  the 
pose  should  be  determined  by  the  sitter's  type,  that 
the  dress  should  be  modern,  and  that  it  was  perfectly 
possible  to  paint  a  man  in  the  evening  dress  of  the 
period  with  satisfactory  result.  Whistler  asked  M. 
Duret  to  pose  for  him,  and  a  standing  pose  and  light 
background  were  determined  upon.  Then  came  the 
question  of  some  accessory  that  should  break  the 
severity  of  the  long  black  figure.  After  long 
thought  Whistler  bade  his  friend  bring  to  the  studio 
a  rose-coloured  domino.  M.  Duret,  astonished  but 
obedient,  went  in  search  of  the  domino,  found  it  at  the 
costumer's  of  Drury  Lane  Theatre,  and  appeared  with 
it  on  the  appointed  day.  The  following  is  his  descrip- 
tion of  the  development  of  the  picture  under  Whist- 
ler's hands: 

"He  posed  me  standing  before  a  curtain  of  grayish 


PORTRAIT  OF  M.  DURET. 

From  M.  Theodore  Duret's  Whistler. 


CHARACTERISATIONS  87 

rose-colour,  the  rose-coloured  domino  thrown  over 
my  left  arm,  bare-headed,  with  my  hat  held  in  my 
right  hand  which  hung  by  my  side,  and  he  attacked  the 
portrait  without  any  preliminary  drawing.  He 
merely  made  with  the  chalk  on  the  white  canvas,  a 
few  marks  to  indicate  at  the  top  the  placing  of  the 
head,  at  the  bottom  that  of  the  feet,  and  at  the  right 
and  left  the  position  of  the  body.  He  then  immedi- 
ately applied  the  colours  and  tones  to  the  canvas  as 
they  were  to  be  in  the  definitive  picture.  At  the  end  of 
the  pose  one  already  could  judge  what  the  general  ap- 
pearance of  the  work  was  to  be.  For  the  principal 
motif,  a  man  standing,  seen  full  face,  in  a  black  suit, 
then  the  pink  domino  had  permitted  the  arrangement 
of  the  colours  in  a  decorative  scheme  such  as  he  in- 
troduced into  all  his  paintings,  the  black  of  the  cloth- 
ing, the  rose-colour  of  the  domino  and  the  grayish 
rose  of  the  background  forming  An  Arrangement  in 
Flesh-Colour  and  Black.  The  domino  served  him 
also  in  defining  the  character  of  the  model  who  might 
pass  for  a  gentleman  going  to  a  ball.  And,  finally, 
hanging  as  it  did,  over  the  left  leg  and  covering  it  in 
part,  it  destroyed  the  stiff  parallelism  of  the  two  sides 
of  the  body  and  diversified  the  outlines.  He  continued 
to  make  me  give  him  long  poses.  He  was  painting 
Lady  Archibald  Campbell's  portrait  at  the  same  time 
with  mine.  He  carried  the  two  works  forward  together 
and  I  was  able  to  observe  the  degrees  by  which  he  kept 
them  parallel.  One  of  his  principal  anxieties  as  they 
advanced  was  to  preserve  in  them  the  appearance  of 


88  THE  WORKS  OF  WHISTLER 

having  been  produced  without  effort.  In  place  of  add- 
ing details,  he  suppressed  them  and  kept  the  style  large 
before  everything  else.  Therefore  that  with  which 
his  detractors  have  reproached  him,  the  painting  of 
sketches  only,  was  not  with  him  the  consequence  of 
absence  of  effort,  but  came  from  his  very  conception 
of  a  work  of  art,  and  was  on  the  contrary  the  result  of 
persistent  attention  and  additional  labour."  M.  Duret 
adds  to  this  valuable  account  the  statement  that  as 
soon  as  Whistler  found  any  disturbance  of  the  rela- 
tion between  the  tones  from  working  on  any  part  of 
the  picture  he  at  once  went  over  the  entire  canvas  and 
brought  the  whole  together  again.  This  happened 
perhaps  ten  times  before  its  completion,  yet  when  it 
was  sent  to  the  Salon  of  1885  it  was  criticized  as  being 
in  the  nature  of  a  sketch,  probably  executed  in  a  very 
brief  period  of  time.  This  impassioned  attempt  to 
cast  everything  portentous  and  heroic  out  of  his  pic- 
tures is  perhaps  the  quality  that  opens  between  Whist- 
ler and  his  contemporaries  the  widest  chasm.  Manet's 
work  while  it  does  not  suggest  labour  and  effort  does 
not  on  the  other  hand  suggest  the  absence  of  it. 
Whistler's  is  never  without  the  suggestion  that  it  was 
done  for  the  sweet  pleasure  of  the  doing,  and  it  is  in 
line  with  this  intention  that  he  saved  himself  unneces- 
sary tasks.  In  his  later  work  his  prepared  grounds 
and  his  thin  medium  gave  him  remarkable  control  of 
his  material.  What  helped  him  most,  however,  was  x 
his  deliberate  and  reasonable  foresight.  One  of  his 
pupils  has  said  that  he  insisted  in  the  class  upon  a 


I/ 

CHARACTERISATIONS  89 " 

thorough  mental  preparation  before  the  canvas  was 
attacked,  a  study  of  the  model  and  the  arrangement 
in  the  mind  of  the  painting  before  the  first  touch  was 
placed.  This  was  no  less  his  own  method.  He  ap- 
pears always  to  have  referred  the  image  growing  un- 
der his  hand  to  a  clear  mental  image  of  the  complete 
effect  as  he  wished  it  to  be.  There  seems  to  be  no  evi- 
dence in  his  pictures  of  reconsiderations  or  changes  of 
plan.  The  repaintings  to  which  they  were  in  many  in- 
stances subjected  seem  always  to  have  been  the  means 
by  which  he  reached  his  predetermined  goal,  not  the 
result  of  efforts  to  improve  or  alter  a  first  intention. 
This  no  doubt  is  what  he  means  by  saying  that  a  pic- 
ture should  be  finished  from  the  beginning.  In  such  a 
sense  it  is  finished  from  the  beginning  as  each  time 
that  it  is  laid  aside  it  is  in  a  condition  that  shows  the 
precise  relation  between  all  the  parts. 

How  different  was  Manet's  attitude  M.  Duret  has 
told  us  in  his  Histoire  d'Edouard  Manet.  In  1868 
Manet  painted  his  portrait  and  M.  Duret  watched 
the  process  with  the  same  intelligent  interest  that 
fifteen  years  later  he  was  to  show  with  the  portrait 
painted  by  Whistler.  Manet  commenced,  he  says, 
with  a  harmony  of  grays,  but  when  the  picture  was 
finished  and  seemed  to  M.  Duret  entirely  successful, 
he  could  see  that  Manet  was  not  satisfied  with  it.  He 
put  M.  Duret  in  pose  again  and  began  to  add  acces- 
sories. First  he  arranged  a  little  table  with  a  garnet 
cover  and  painted  that.  Then  came  the  happy  idea  of 
throwing  a  book  with  a  light  green  cover  under  the 


90  THE  WORKS  OF  WHISTLER 

table  and  painting  that.  Later,  a  carafe,  a  glass  and 
a  knife  on  a  lacquer  tray  were  placed  on  the  table. 
Finally  a  lemon  was  added.  Thus  the  artist  built  up 
a  little  bouquet  of  colour  in  the  picture  that  satisfied 
his  natural  instinct  as  the  quiet  grays  could  not.  M. 
Duret  has  traced  in  many  of  his  other  pictures  the 
same  accumulative  process  by  which  multi-coloured 
accessories  are  added  to  a  general  gray  tone,  as  if  by 
an  after-thought 

Apparently  Whistler  and  Manet  worked  in  almost 
precisely  opposite  directions  in  the  actual  treatment 
of  their  material.  Whistler  in  his  later  portraits  be- 
came increasingly  abstract,  eliminated  detail  with  a 
deepening  passion  for  simplification,  resolved  his 
varied  colours  more  persistently  into  a  single  expres- 
sive tone;  sacrificed  the  exquisite  accessories  of  his 
early  work,  and  finally  stood,  quite  alone  in  his  gen- 
eration, severe  almost  to  the  point  of  austerity,  im- 
pressive, learned,  and  triumphant  over  all  pre-occupa- 
tions  with  the  by-play  of  art.  Never  inclined  toward 
a  positively  high  key,  (try  a  white  handkerchief 
against  his  lighter  pictures  and  note  how  low  in  tone 
it  shows  them  to  be)  he  was  more  frequently  solicited 
by  closely  related  grays  and  variations  of  black,  and 
posed  his  models  and  sitters  chiefly  in  the  half  light 
of  his  studio  to  secure  for  them  the  quiet  illumination 
that  made  possible  his  infinitely  quiet  effects. 

Manet,  on  the  contrary,  was  increasingly  inclined 
toward  posing  his  models  in  the  open  air  and  using 
vivid  colours  in  juxtaposition.  If  he,  to  adopt  M. 


THE  LADY  WITH  THE  YELLOW  BUSKIN. 

In  the  W.  P.  Wilrtach  Collection.  Philadelphia. 


CHARACTERISATIONS  91 

Duret's  phrase,  was  the  hunter  leaping  every  obstacle 
in  his  path  in  his  reckless  determination  to  reach  his 
goal,  Whistler  was  the  racer,  covering  his  ground 
steadily,  conserving  his  energy,  and  achieving  his 
purpose  without  swerving  from  his  course. 

And  we  are  safe  to  assume  that  a  part  at  least  of 
his  purpose  was  to  realize  individual  characteristics. 
There  is  no  sign  that  he  cared  to  represent  in  his  art 
the  richness  of  the  human  world.     If  his  types  are 
various  it  is  probable  that  he  nevertheless  took  them 
much  as  they  came,  reserving  his  right  not  to  take 
them  at  all  if  they  did  not  please  him.    There  are  many 
classes  of  society  not  to  be  found  in  his  work,  and  we 
cannot  by  the  farthest  stretch  of  imagination  call  it 
the  "baggage"  of  a  painter  for  whom  the  personal 
experience  of  men  and  women  is  an  unfailingly  inspir- 
ing theme.    Nor  do  we  find  that  human  affairs  in  gen-  w 
eral  have  any  place  in  his  paintings.    "I  do  not  remem- 
ber," says  Mr.  Cox,  "a  single  figure-picture  by  Whist- 
ler," in  which  anybody  is  doing  anything  in  particular. 
His  figures  stand  or  sit  or  recline,  but  they  never 
act."     This,  of  course,  is  of  the  essence  of  his  art, 
and  his  power  to  show  character  in  repose  is  certainly 
not  a  mark  of  inefficiency.    But  the  fact  remains  that 
his  was  not  illustrative  painting  in  any  sense  of  the 
word.     We  not  only  learn  from  it  nothing  of  the 
events  of  the  time  in  which  he  worked,  we  learn  noth- 
ing of  the  feelings,  admirations  and  prejudices  of  the 
time.    He  never  painted  an  "Hommagt?  to  anyone; 
he  never  chose  such  a  subject  as  the  Night  Watch; 


92  THE  WORKS  OF  WHISTLER 

he  celebrated  no  historical  event  such  as  the  combat 
of  the  Kearsarge  and  the  Alabama,  which  moved 
Manet  to  the  achievement  of  a  truly  magnificent  ma- 
rine. It  is  all  the  more  remarkable  that  he  has  been 
able  so  completely  to  project  himself  into  the  tempera- 
ment of  the  individual.  There  is  nothing  cheap  or 
coarse  in  his  psychology,  therefore  it  is  easy  to  over- 
look it.  But  if  we  overlook  it  we  have  shut  ourselves 
from  one  of  the  most  delicate  pleasures  of  the  many 
with  which  he  has  provided  us, 


ETCHINGS 


CHAPTER  SIXTH. 

Etchings. 

MUCH  has  been  written  of  Whistler's  etchings 
from  both  the  technical  and  the  untechnical 
point  of  view,  and  only  the  simple  truth  that 
a  thing  of  beauty  is  a  joy  forever  can  excuse  bringing 
the  subject  forward  again  with  no  very  new  light  to 
throw  upon  it,  with  only  a  personal  pleasure  in  it  to 
record.  Simple  as  it  seems,  however,  to  say  that 
Whistler's  etchings  are  beautiful,  it  is  what  can  be 
said  of  comparatively  few  etchings  in  the  world.  Al- 
ways an  interesting  process  because  of  its  definite  and 
personal  character,  etching  requires  a  profoundly 
artistic  intelligence  to  turn  its  limitations  to  artistic 
ends,  to  make  peace  with  the  instrument,  as  it  were, 
to  soften  and  subdue  a  certain  shrillness  in  its  artistic 
utterance  of  the  artistic  idea  without  destroying  its 
crispness  and  decision.  In  all  etching  the  effect 
should  be  of  a  line  made  by  an  inflexible  metal  point, 
and  scratching  a  metal  plate  with  a  metal  point  is,  of 
course,  of  the  essence  of  dry-point  work.  A  true 
etcher  is  not  tempted  to  disregard  the  lineal  character 
of  his  medium,  his  problem  is  to  make  his  line  so  ex- 
pressive and  musical  as  to  destroy  in  the  mind  of  the 
observer  all  thought  of  its  limitations.  If  he  can  so 
lightly  and  subtly  suggest  shapes  and  distances  as  to 
convey  the  memory  beyond  them  to  stored  associa- 
tions and  impressions  too  delicate  to  be  evoked  by  a 


96  THE  WORKS  OF  WHISTLER 

ruder  touch,  he  has  made  his  inflexible  point  do  its 
whole  duty  as  an  artistic  medium.  To  do  more  would 
be  to  do  less.  This  apparently  is  the  conclusion  to 
which  Whistler  was  led  by  his  many  years  of  study 
and  practice  in  etching,  and,  paradoxically,  it  is  the 
conclusion  from  which  he  started.  His  earliest  plates, 
or  to  speak  more  accurately,  some  of  his  very  early 
plates,  show  his  innate  tendency  to  make  a  single  line 
express  twenty,  to  select  the  one  line  exclusively  ap- 
propriate to  his  subject  and  to  concentrate  attention 
on  the  object  most  interesting  to  him  which  consti- 
tutes his  theme.  The  Isle  de  la  Cite,  dated  1859,  is 
quite  as  perfect  a  description  of  the  given  scene  as  we 
could  find  among  his  later  works.  It  speaks  quite  as 
concisely,  the  form  is  quite  as  elegant  and  as  in- 
tently observed  as  in,  for  example,  the  Upright 
Venice  of  more  than  twenty  years  later.  The 
little  group  of  clustered  houses,  the  buildings 
shown  with  less  and  less  detail  toward  the  edges 
of  the  plate,  the  riverside  and  bridges  with  their 
minute  little  figures,  the  open  placid  sky,  all  indicated 
with  exquisite  restraint  of  expression,  contain  the 
essential  charm  of  his  method.  His  later  renderings 
of  similar  scenes  in  a  similar  mood  carry  perhaps 
more  of  the  courage  of  his  conviction,  but  they  reveal 
no  different  conviction.  Not  all  the  etchings  of  that 
period,  however,  are  thus  wholly  comparable  with  the 
later  ones.  Many  are  rich  and  beautiful  portraits  of 
places  in  which  every  detail  of  picturesque  value  is 
elaborately  worked  out,  in  which  the  sense  of  light 


ETCHINGS  97 

and  dark  in  extreme  contrast  is  somewhat  insisted 
upon ;  in  which,  in  fact,  the  mood  of  the  etcher  might 
be  considered  as  one  of  emphasis  arguing  with 
slightly  excessive  eloquence  for  the  beauty  of  what  he 
sees.  The  quality  of  such  eloquence  is  not,  indeed,  to 
be  denied.  Only  one  thing  could  be  more  expressive 
— the  statement  unadorned  of  a  fact  of  beauty  so 
moving  as  to  make  adornment  superfluous.  To  this 
Whistler  in  his  later  etchings  proceeded,  not  chang- 
ing his  artistic  intention,  but  refining  his  method  until 
it  became  so  distinguished  as  to  be  almost  negligible. 
By  a  perfectly  natural  evolution  he  more  and  more 
came  to  substitute  expressive  spaces  for  expressive 
detail.  But  it  could  only  be  through  mastery  of  detail 
that  he  could  learn  when  to  ignore  it,  and  the  individ- 
ual results  of  his  early  work  are  delightful  in  their 
kind  with  values  of  association  that  persist  in  appeal- 
ing to  the  untechnical  careless  world. 

His  first  dated  series  of  etchings,  published  in 
18580  and  called  the  French  Set,  includes  thirteen 
plates,  some  of  them  made  on  a  trip  into  Alsace,  Lor- 
raine and  Germany,  and  others  in  Paris.  The  subjects 
are  from  the  life  about  him  and  show  him  in  a  sense  off 
guard  as  he  was  not  in  his  early  paintings.  He  was 
using  a  medium,  that  is,  with  which  he  had  gained 
familiarity  in  the  mechanical  task  of  engraving  plates 
for  the  Coast  Survey.  He  knew  precisely  what  his 
hand  could  do,  and  he  was  thus  free  to  use  his  eyes 
as  an  artist  immediately  and  independently,  without 

(a)  1858  is  the  date  given  by  M.  Duret.    Mr.  Wedmore  nas  it  1859. 


98  THE  WORKS  OF  WHISTLER 

the  perplexing  undercurrent  of  wonder  as  to  how 
he  should  render  the  thing  seen.  He  began  with  this 
part  of  his  initiation  behind  him,  and  could  at  once 
devote  himself  to  the  refinements  of  the  technical 
process  necessary  to  produce  the  exquisite  results  for 
which  he  sought.  Had  he  learned  to  engrave  on  cop- 
per with  the  direct  intention  of  making  pictures  by 
that  means  he  might  have  found  it  more  difficult  to 
avoid  that  habit  of  which  he  has  told  us,  so  often 
formed  by  students  in  schools,  the  habit  of  making 
pictures  of  pictures  instead  of  making  pictures  of 
nature.  No  accident  of  education  could  have  made 
him  individual  if  he  had  not  started  so,  but  this  lucky 
accident  may  have  kept  him  from  falling  into  the 
imitative  ways  of  a  student  by  giving  him  a  means  of 
adequate  expression  for  his  pictorial  ideas  before  he 
had  mastered  the  craft  of  painting.  In  the  French 
Set,  for  example,  is  an  etching  of  La  Mere  Gerard, 
an  old  French  woman  who  fell  by  degrees  from  the 
proud  estate  of  keeper  of  a  reading  room,  to  the 
humble  occupation  of  selling  flowers  at  the  door  of 
the  Bal  Bullier,  where  Whistler  was  attracted  by  her 
picturesque  figure  and  claimed  her  for  a  model.  She 
wears  a  dark  tippet  and  a  bonnet  tied  under  her  chin, 
her  face  is  keen  with  a  sensitive  mouth  and  clear-cut 
nose,  her  brow  is  marked  by  the  bar  of  Michael  An- 
gelo.  Not  a  line  of  the  dainty  little  plate  but  shows  the 
fine  discrimination  of  Whistler's  taste  and  the  costly 
simplicity  of  his  execution.  We  have  only  to  compare 
this  quite  perfect  etching  with  the  portrait  in  oils  of 


"  THE  RAG  GATHERERS." 

(From  the  Etching.) 
Reproduced  by  the  courtesy  of  Messrs.  Frederick  Keppel  and  Company. 


ETCHINGS  99 

the  same  model,  which  was  one  of  his  earlier  achieve- 
ments, to  realize  how  much  it  meant  to  him  to  "know 
how."  The  oil-colour  is  laborious  and  holds  remi- 
niscences of  commonplace  ways  of  handling  the  brush 
and  the  pigment.  If  the  embryo  of  Whistler's  style 
is  there  it  is  formless  and  indistinguishable  as  his. 

We  may  therefore  consider  it  a  piece  of  extraordi- 
nary good  fortune  for  ourselves  as  for  him  that  his 
frank  youthful  vision  of  Paris  and  London  was  not 
obliged  to  wait  for  a  single  night  to  be  translated  into 
his  characteristic  idiom.  A  Thames  Set  of  sixteen 
etchings  followed  the  French  Set  and  the  two  groups 
with  the  detached  subjects  of  the  same  early  period, 
are  records  of  localities  that  vie  with  those  of 
Balzac  in  their  precision  of  representative  state- 
ment. The  plate  called  The  Rag  Gatherers,  for 
example,  shows  a  hovel  in  the  Quartier  Mouffetard. 
The  doorway  frames  the  scene,  a  device  of  which 
Whistler  made  frequent  use,  and  which  contributes 
to  the  effect  always  in  his  mind  to  obtain — the  effect 
of  seeing  objects  not  as  though  they  stood  out  from 
the  paper  or  canvas  or  other  material  on  which  they 
are  drawn,  but  as  though  they  were  a  little  back  of  it. 
We  perceive  two  figures,  a  boy  and  a  girl  or  woman, 
within  the  room  at  long  range  as  if  we  were  peering 
into  a  rather  deep  enclosure  from  some  distance  be- 
yond the  threshold.  The  girl  is  bending  forward  with 
an  appealing  aspect  of  frailty  in  her  small  face  sur- 
rounded by  a  fall  of  heavy  hair,  the  boy  is  erect  and 
wears  his  cap  and  blouse  with  jauntiness.  And  there 


100          THE  WORKS  OF  WHISTLER 

is  the  inimitable  revealing  touch  of  a  master  upon  ac- 
cessories, showing  by  a  few  objects,  a  heavy  wall- 
beam,  a  little  table,  some  irregular  boards  in  the  floor- 
ing, the  precise  character  of  the  squalid  interior.  In 
an  earlier  state  in  the  Avery  collection (')  there  are 
no  figures.  "The  scene  is  then,"  says  Mr.  Wedmore, 
"in  its  silence  and  squalor  almost  as  suggestive  as  the 
Rue  des  Mauvais  Garcons  of  Meryon." 

The  famous  plate  The  Kitchen  shows  another  char- 
acteristic interior,  tidy  this  time  and  comfortable,  with 
a  woman's  figure  at  the  end  of  the  room  in  a  deep 
recess  on  the  walls  of  which  the  sunlight  pours 
through  a  little  window.  Vines  make  charming  pat- 
terns on  the  window-pane  and  shadows  on  the  wall. 
The  figure  of  the  woman  is  very  dark  and  most  of  the 
room  is  in  heavy  shadow.  We  see  the  details  of  its 
furnishing,  however,  and  the  textures  and  surfaces 
of  the  different  objects  are  scrupulously  defined.  They 
are  not,  that  is,  partially  obliterated  by  the  shadow, 
their  specific  appearance  is  not  merged  in  a  single 
tone,  as  so  often  is  the  case  with  Rembrandt's  rooms 
in  which  the  light  and  shade  are  thus  strongly  con- 
trasted. Even  at  this  date  Whistler  had  his  indi- 
vidual way  of  treating  chiaroscuro,  a  way  that  is  fully 
developed  in  such  paintings  as  The  Yellow  Buskin 
and  the  Rosa  Corder.  He  kept  his  darks  distinguish- 
able from  one  another,  although  casting  them  into  a 


(*)  It  is  catalogued  as  the  first  state,  but  the  whole  question  of 
states  is  still  so  shifting  that  one  hesitates  even  to  quote  a  positive 
statement. 


ETCHINGS  101 

common  shadow.  The  background  does  not  blend 
with  the  figure  and  the  darks  of  the  curtain  and  the 
dress  are  as  different  in  value  as  red  and  green  are 
different  in  colour  value.  We  find  this  all  through  the 
etchings  even  where  the  shadow  becomes  positive 
blackness  as  in  La  Vieille  aux  Loques,  another  French 
habitation  with  a  delightful  old  woman  nodding  in  the 
doorway  and  an  extraordinary  amount  of  cross- 
hatching  all  over  the  darker  parts  df  the  plate.  Not 
until  the  printing  of  the  Venice  Nocturnes  does  he 
adopt  a  chiaroscuro  which  grows  without  interrup- 
tion from  darkness  to  light  so  that  critics  uncon- 
trollably impelled  to  compare  his  etchings  to  those  of 
Rembrandt  must  go  as  far  as  this  to  discover  any  real 
correspondence  in  vision  or  rendering  and  by  this  time 
the  etchings  in  all  other  particulars  have  become  so 
unlike  anyone  else's  that  to  search  for  correspond- 
ences is  a  thankless  task.  One  little  plate  of  the  early 
period,  however,  (the  Little  Arthur,  Wedmore  13) 
does  afford  an  opportunity  for  direct  reference  to 
Rembrandt.  It  is  etched  with  a  different  line  from 
that  usually  chosen  by  Whistler  from  among  the  in- 
numerable possibilities  of  line.  Even  where  his  lines 
are  minute  as  in  La  Mere  Gerard  they  are  seldom 
abrupt  or  scratchy.  They  convey  a  sense  of  tranquil- 
lity not  only  in  the  mood  of  the  etcher,  but  in  the  atmos- 
phere surrounding  the  subject  of  the  etching.  It  is 
the  same  tendency  that  led  him  away  from  noonttay 
effects  in  his  open  air  pictures  and  from  the  use  of  a 
high  key  in  his  colour  schemes.  He  had  not — in  his 


102          THE  WORKS  OF  WHISTLER 

art — the  dramatic  note.  This  Little  Arthur,  however, 
is  etched  with  a  crisp  almost  crackling  line,  that  gives 
the  figure  the  appearance  of  being  seated  in  pulsing 
shimmering  sunlight.  The  air  vibrates  and  tingles 
with  little  sharp  accents.  How  often  Rembrandt  used 
this  effect  in  his  small  portrait  heads  and  little  early 
compositions  is  a  matter  of  common  knowledge,  but 
there  is  an  especially  striking  likeness  between  the 
Little  Arthur  and  his  William  II  (Blanc,  No.  177). 
In  each  we  find  the  same  modelling  of  the  face  with 
cross-hatched  shadows,  the  same  discrimination  of 
texture  in  the  hair  and  dress  without  special  definition 
of  planes,  the  same  breaking  up  of  the  background 
with  the  little  staccato  lines  already  referred  to,  and  in 
this  one  instance  we  find  a  shadow  connecting  the 
figure  with  the  background  more  extended  and  "Rem- 
brandtesque"  in  Whistler's  plate  than  in  Rembrandt's. 
The  suggestion  is  clear  that  in  that  subject  and  at  that 
moment  Whistler,  whether  or  not  with  Rembrandt  in 
mind,  was  making  his  picture  out  of  light  and  shade 
with  less  attention  than  usual  to  the  pattern  made  by 
line  and  surface. 

Another  early  plate  (1859),  The  Landscape  with 
the  Horse,  has  also  its  reminiscences  of  Rembrandt 
which  are  not,  however,  enough  to  dilute  the  strong 
personal  character  of  the  design.  They  show  most  in 
the  state  where  it  is  a  landscape  with  two  horses.  The 
meadow  dipping  and  rising,  the  little  fence  marking 
the  sharp  elevation  of  the  ground  in  the  distance,  the 
foliage  light  without  fuzziness,  the  shapes  of  the  trees 


, 


"JO'S  BENT  HEAD. 

(From  the  Etching.) 
Reproduced  by  de  courtesy  of  H.  \Vurdeilich  &  Co. 


ETCHINGS  103 

against  the  sky,  are  all  in  Rembrandt's  tradition  of 
representing  in  a  landscape  great  solidity  and  distance 
with  a  few  structural  lines  and  just  as  much  realism 
as  will  leave  wholly  unimpaired  the  indispensable 
attribute  of  vitality  in  the  drawing.  But  they  are 
also  in  Whistler's  tradition  as  he  shows  it  throughout 
his  work  in  all  its  forms,  and  it  is  probable  that  the 
choice  of  a  landscape  subject — a  choice  so  rare  with 
him  as  to  seem  in  itself  a  mark  of  some  outside  in- 
fluence— is  chiefly  responsible  for  the  thought  of 
Rembrandt  that  inevitably  comes  to  mind  at  sight  of 
this  beautiful  and  in  no  way  uncharacteristic  etching. 
The  very  fact  that  one  example  or  two  permit  a 
reference  to  forerunners  throws  into  striking  relief 
the  originality  of  Whistler's  work  as  a  whole.  In 
noting  here  and  there  a  resemblance  one  is  forced  at 
the  same  time  to  note  its  isolated  character  and  the  in- 
frequency  of  opportunities  to  trace  influences  or  even 
relationships.  A  few  of  the  French  Set  remind  the 
observer  acquainted  with  Meryon's  majestic  portraits 
of  old  Paris  that  Whistler  had  been  etching  ten  years 
before  Meryon  died  and  no  doubt  had  felt  the  inspira- 
tion of  his  rare  and  passionate  genius.  There  is  the 
Street  at  Saverne  in  which  a  street  lamp  casts  a  broad 
illumination  over  the  walls  of  houses  on  the  opposite 
side.  The  large  flat  surfaces  on  which  the  light  rests 
uninterrupted  by  accidental  shadows,  the  simple  im- 
posing masses  of  strong  dark,  the  solid  dignified  archi- 
tecture, have  just  such  beauty  as  the  artist  of  the  Rue 
de  la  Tixanderie  sought  and  found  unceasingly. 


104          THE  WORKS  OF  WHISTLER 

There  is  also  the  Liverdun,  a  farmyard  of  Lorraine, 
in  which  the  distribution  of  light  and  shade  produces 
the  effect  of  massive  structure,  almost  of  solemnity, 
with  which  Meryon  invests  the  simplest  scene.  A  few 
other  plates,  among  them  The  Miser  and  Wych  Street, 
have  this  effect — it  might  crudely  be  called  the  flat 
wall  effect,  as  it  depends  upon  the  flooding  of  a  large 
unbroken  surface  with  light, — and  wherever  it  occurs 
we  are  assailed  by  the  thought  of  Meryon,  so  that  we 
could  say  with  a  certain  amount  of  justification  that 
Meryon  more  than  any  other  etcher  influenced  Whist- 
ler's etched  work.  But  if  we  say  this  we  must  remem- 
ber that  it  is  an  influence  audible  because  of  the  silence 
in  which  it  speaks.  To  lay  special  stress  upon  it  or  to 
extend  it  beyond  occasional  examples,  would  be  to 
exaggerate  it.  Still  less  can  we  afford  to  emphasize 
the  influence  of  any  contemporary.  Beside  his 
brother-in-law,  Sir  Seymour  Haden,  his  friend 
Legros  and  Felix  Bracquemond  were  expressing  very 
definite  temperaments  and  ideals  through  the  medium 
of  etching;  but  their  work  only  serves  to  emphasize 
the  independence  of  Whistler's.  Sir  Seymour  Haden 
was  probably  most  intimately  his  companion  as  an 
etcher.  There  is  at  least  one  plate  which  they  etched 
in  collaboration,  (it  is  called  The  Wood)  and  it  is 
obvious  that  in  a  number  of  instances  they  were  draw- 
ing the  same  subject  at  the  same  time.  These  plates 
made  side  by  side  are  the  best  evidence  possible  of  the 
degree  of  artistic  relationship  between  the  two  artists. 
Its  negligibility  is  not  to  be  mistaken.  If  we  take  for 


ETCHINGS  105 

a  single  example  the  etching  by  Whistler  of  Green- 
wich Park,  in  which  the  trees,  seldom  found  as  a 
prominent  feature  of  his  compositions,  afford  an  op- 
portunity for  comparison,  we  see  at  once  how  he  made 
a  distinct  pattern  of  the  foliage  with  clear-cut  edges 
where  Sir  Seymour  Haden  reproduced  instead  its 
depth  and  blurred  its  silhouette.  The  sharpness  and 
fineness  of  Whistler's  vision  and  of  his  translation  of 
his  vision  were  much  more  in  harmony  with  the 
methods  of  his  French  friends  than  with  those  of  any 
contemporary  English  artist  and  the  mid- Victorian 
element  in  the  work  of  Sir  Seymour  Haden  which 
makes  it  national  and  typical  and  of  a  special  period, 
(and  thus  adds  to  its  value  for  those  to  whom  such 
qualities  are  a  part,  and  even  a  precious  part,  of  an 
artistic  achievement,)  separates  it  absolutely  from 
Whistler's  work  of  any  time.  Divergent  as  they  are 
in  method,  style,  and  choice  of  subject  there  is  more 
of  Bracquemond's  spirit  in  Whistler's  way  of  seeing 
than  there  is  of  Haden's.  Bracquemond  took  deeply 
his  lessons  from  the  Japanese,  and  in  all  his  original 
work  of  the  early  sixties  (it  was  not  extensive)  we 
see  an  effort  to  spot  his  surfaces  with  a  decorative  ar- 
rangement of  darks  and  lights,  and  to  seize  the  spon- 
taneous impression.  He  and  Whistler  at  least  felt  in 
common  the  charm  and  value  of  spontaneity  of  effect 
and  a  decorative  plan.  Bracquemond's  fine  care  for 
the  quality  of  his  materials  and  his  indomitable  sim- 
plicity in  the  use  of  his  complicated  equipment  of 
knowledge  were  also  qualities  in  line  with  Whistler's, 


106         THE  WORKS  OF  WHISTLER 

but  he  was  at  heart  a  decorator  rather  than  an  artist 
in  the  sense  that  Whistler  was  an  artist,  and  it  is  not 
possible  to  go  any  distance  in  comparison  of  the  two. 
With  Legros  there  was  even  less  chance  of  the 
interplay  of  intellectual  and  temperamental  points  of 
view.  He  and  Whistler  began  to  etch  at  about  the 
same  time,  but  there  is  as  little  likeness  between  their 
methods  or  their  ways  of  seeing  in  their  etchings  as 
in  their  paintings.  Legros,  despite  his  classic  tend- 
encies, was  essentially  dramatic.  M.  Alexandre  has 
cleverly  traced  to  his  actual  familiarity  with  the  thea- 
tre in  his  youth  as  a  scene-painter,  the  characteristic 
arrangement  of  his  compositions,  and  many  of  his 
large  plates  are  in  truth  singularly  suggestive  of 
scenes  arranged  for  the  stage.  This  fact  alone  would 
separate  him  entirely  from  Whistler's  unobtrusive 
and  carefully  "accidental"  quality.  But  if  we  examine 
the  two  portraits  of  Delatre,  the  printer,  made  by 
Whistler  and  Legros  respectively,  we  see  how  deep 
the  chasm  was  between  their  different  ways  of  repre- 
senting a  subject,  and  how  adequate  Whistler  was  to 
grasp  not  alone  the  pictorial  but  the  personal  aspect 
of  the  man  before  him,  where  Legros  conventional- 
ized and  confused  the  impression.  Whistler's  Delatre 
is  not  only  a  man  but  a  Frenchman  and  not  only  a 
Frenchman  but  a  French  craftsman.  His  rather  sen- 
sitive, observant  eyes,  his  clear-cut  features,  his  air 
of  capability  and  training,  of  being  a  little  finicky  of 
mind  and  exigent  of  manner,  are  precisely  those  of 
one  to  whom  an  artistic  craft  with  its  mingling  of 


;•* ,  1 


WHISTLER  WITH  THE  WHITE  LOCK. 

(From  the  etching  in  the  Avery  Collection :     Reproduced  by  courtesy  of  the  Print  Department  of 
the  New  York  Public  Library.) 


ETCHINGS  107 

poetry  and  science  would  appeal.  The  Delatre  of 
Legros,  on  the  contrary,  is  earnest  and  commonplace, 
an  honest  man,  but  not  necessarily  a  Frenchman  or 
a  craftsman,  and  with  no  interest  of  individuality. 

Without  multiplying  instances  of  Whistler's  un- 
likeness  to  other  painter-etchers  of  his  circle,  it  is  safe 
to  accept  him  as  not  even  at  the  beginning  a  follower. 
Much  of  the  charm  of  his  early  work  lies  in  this  fresh- 
ness of  outlook  upon  surroundings  more  familiar  in 
literature  than  in  art. 

He  became  known  to  the  public  as  an  etcher  chiefly 
through  his  great  Thames  series,  in  which  the  dark 
river  with  its  multitudinous  burdens,  its  stately 
bridges,  its  shores  swarming  with  idlers  and  traffick- 
ers, is  brought  before  one  in  its  daily  aspect,  a  part  of 
the  vast  town  by  which  it  has  been  enchained  and  a 
part  of  the  familiar  life  of  the  people.  His  biographer 
notes  that  he  was  the  first  interpreter  of  this  commer- 
cial London,  his  predecessors  having  pushed  up 
toward  Richmond  and  toward  Henley  in  their  seeking 
for  the  Morris  ideal  of  a — 

— London  small  and  white  and  clean. 

The  clear  Thames  bordered  by  its  gardens  green. 
He  was  minutely  accurate  in  his  pictures  of  the 
barges  and  warehouses,  the  fishing-boats  bringing 
their  fish  to  the  Billingsgate  market,  the  docks  and  the 
taverns,  and  those  who  knew  these  features  of  the 
river  life  in  the  sixties  report  them  to  be  so  faithfully 
recorded  that  a  true  historical  value  is  added  to  the 
artistic  value  of  the  etchings  in  which  they  appear.  It 


108          THE  WORKS  OF  WHISTLER 

seems  to  have  been  his  habit  to  carry  his  plates  into 
the  actual  presence  of  the  scene  he  was  to  represent, 
and  to  make  his  quiet,  delicately  considered  composi- 
tions in  the  turmoil  of  busy  places,  drawing  directly 
upon  the  copper  without  preliminary  sketching.  M. 
Duret  relates  that  while  he  was  drawing  the  beautiful 
plate  called  Rothcrlrithe  in  a  repair  shop  on  the  bank 
of  the  river  a  brick  fell  from  above  just  missing  his 
head  and  causing  his  hand  involuntarily  to  swerve, 
making  the  long  perpendicular  mark  across  the  plate 
which  may  be  seen  in  the  print. 

In  such  plates  as  the  Black  Lion  Wharf,  Eagle 
Wharf,  Adam  and  Eve  Tavern,  Thames  Warehouses, 
and  Limehouse,  he  drew  with  the  most  minute  accu- 
racy each  variation  in  material,  colour,  or  surface  of 
the  old  buildings.  Different  widths  of  board,  the  let- 
tering of  signs,  the  latticed  railings  of  little  balconies, 
iron  brackets,  the  crooked  sashes  of  the  windows,  oc- 
casional pots  of  flowers  and  vines,  the  ropes  and  rings 
and  pulleys  of  complicated  machinery,  all  are  noted 
with  scrupulous  precision  and  are  held  in  a  true  rela- 
tion and  proportion.  The  little  air  of  conscientious- 
ness that  rests  upon  them  and  is  due  not  to  their  multi- 
tudinous detail,  but  to  the  fact  that  the  line  in  them 
is  often  permitted  to  define  rather  than  suggest,  is  so 
soon  absent  from  Whistler's  work  that  one  welcomes 
it  here  as  the  outward  and  visible  sign  of  his  inner 
labour.  That  it  was  not  the  complete  fulfilment  of  his 
own  ideal  we  are  bound  to  recognize  in  recalling  his 
"Propositions" — 


ETCHINGS  109 

"A  picture  is  finished  when  all  trace  of  the  means 
used  to  bring  about  the  end  has  disappeared. 

"To  say  of  a  picture,  as  is  often  said  in  its  praise, 
that  it  shows  great  and  earnest  labour,  is  to  say  that  it 
is  uncomplete  and  unfit  for  view. 

"Industry  in  Art  is  a  necessity — not  a  virtue — and 
any  evidence  of  the  same  in  the  production  is  a  blem- 
ish, not  a  quality;  a  proof,  not  of  achievement,  but  of 
absolutely  insufficient  work,  for  work  alone  will  efface 
the  footsteps  of  work."  / 

If  we  turn  from  the  Thames  Warehouses  or  the 
Adam  and  Eve  Tavern  to  one  of  the  later  etchings, 
such  as  The  Bridge,  we  are  in  a  position  to  realize  the 
truth  of  these  propositions  which  hold  in  a  nutshell  the 
statement  long  sought  by  critics  of  the  artistic  quality 
par  excellence.  Nothing  could  wear  more  completely 
the  light  and  gracious  air  of  a  work  of  art  that  has 
"done  itself"  than  this  complicated  collocation  of 
irregular  buildings,  river  craft  and  people — the  houses 
on  the  bank  with  their  quaint  various  construction, 
straggling  off  into  the  pleasant  distance  where 
glimpses  of  little  trees  may  be  had,  the  small  boats 
poled  ever  so  lazily  up  the  stream;  the  delicate  arch 
of  the  bridge  with  its  odd  draperies,  the  outlines  of 
human  forms,  standing  idly  watching,  strolling  along 
the  water-side,  lounging,  loafing,  forging  busily 
ahead,  what  does  it  all  seem  but  the  merest  accident  of 
a  fair  day  alongshore,  when  happening  upon  such  a 
scene,  the  natural  thing  was  gaily  to  fix  upon  the  cop- 
per the  memoranda  that  shall  prevent  its  dissolving 
into  nothingness  in  the  mind. 


110          THE  WORKS  OF  WHISTLER 

Yet  if  the  most  facile  sketcher  among  us  should  pull 
out  his  note-book  in  the  presence  of  a  similar  throng 
of  incidents  and  objects  and  essay  to  separate  from  the 
confusion  just  those  essential  elements  of  it  that  make 
for  the  beauty  of  the  long  perspective  of  the  shore,  and 
the  perfect  curve  of  the  bridge  that  contrasts  with  it 
and  yet  seems  to  repeat  and  flow  into  it,  for  the  sim- 
plicity and  suggestiveness  of  the  little  figures,  for  the 
charming  relation  between  the  clear  patch  of  sky  and 
the  broad  sweep  of  water,  for  the  completeness  in  a 
word  of  the  picture,  the  task  would  be  found  to  involve 
a  combination  of  talent  and  training  such  as  occurs 
only  once  or  twice  in  a  generation — or  a  century,  and 
the  facile  sketcher  doubtless  would  be  greatly  at  a  loss 
confronting  his  apparently  easy  problem. 

To  make  a  difficult  thing  appear  easy — that  is  the 
final  achievement  of  art  on  its  technical  side,  yet  the 
artist  who  succeeds  in  doing  with  apparent  careless- 
ness what  others  conspicuously  have  laboured  over 
naturally  arouses  suspicion.  The  average  mind  is  im- 
patient at  being  put  off  with  less  work  than  is  paid  for 
according  to  the  commutation  of  commerce,  and  the 
necessity  of  presenting  a  visible  result  for  every  frag- 
ment of  time  spent  upon  a  picture  has  been  felt  by 
many  an  honest  artisan.  It  was  this  sentiment  of  false 
honesty  that  led  to  the  downfall  of  the  Pre-Raphselites, 
and  under  the  guise  of  conscientiousness,  it  is,  of 
course,  of  the  nature  of  vanity.  Whistler  was  free 
from  at  least  this  form  of  the  almost  universal  human 
blight.  It  was  nothing  to  him  that  in  his  synthetic 


ETCHINGS  1 1 1 

arrangements  the  expressive  blank  spaces  conveyed 
the  impression  of  slightness.  It  was  everything  to  him 
to  distinguish  the  lines  holding  the  utmost  possibilities 
of  beauty  and  significance  amid  confusing  surplusage. 
Following  his  line  which  is  flung  out  rythmically  like 
the  gesture  of  an  eloquent  hand  we  become  conscious 
not  of  what  we  naturally — without  any  especial  artis- 
tic interest  in  the  scene — would  see,  but  of  what  he 
wishes  us  to  see.  He  throws  open  doors  and  windows 
upon  nature  and  lets  the  mind  out  upon  spacious  and 
beguiling  horizons. 

His  early  etchings  were  promptly  appreciated  as 
works  of  art.  Certain  prints  were  exhibited  at  the 
Royal  Academy  in  1859  where  that  side  of  his  art  con- 
tinued to  be  represented  until  1864.  His  reputation 
as  an  etcher,  holding  its  own  for  twenty  years  through 
the  declining  popularity  of  his  paintings,  led  the  Fine 
Art  Society  of  London  in  1879  to  send  him  to  Venice 
for  the  purpose  of  making  a  series  of  twelve  etchings. 
It  is  interesting  to  note  (on  the  authority  of  M.  Duret) 
that  he  was  to  receive  for  these  the  sum  of  six  hundred 
pounds  sterling  and  was  also  to  receive  ten  shillings 
for  each  proof  that  he  printed  himself.  This  arrange- 
ment is  said  to  have  brought  about  his  taking  up  the 
printing  of  his  impressions  as  a  regular  thing,  no  one 
desiring  an  impression  made  by  a  professional  printer 
after  seeing  the  effects  obtained  by  his  management 
of  the  process.  He  returned  from  Venice  in  Novem- 
ber, 1880,  after  an  absence  of  fourteen  months,  during 
which  he  had  etched  forty  plates,  from  which  the  Fine 


112 

Art  Society  made  their  selection  of  twelve.  A  hun- 
dred impressions  were  printed  from  each  and  the  series 
sold  at  fifty  guineas.  A  sufficient  number  of  people 
cared  for  the  reticent  line  and  beautiful  tone  of  these 
etchings  to  make  the  little  enterprise  a  success  from 
the  commercial  point  of  view;  but  from  the  critics 
came  a  torrent  of  abuse.  Mr.  Wedmore  ingeniously 
explains  that  they,  accustomed  to  representations  of 
Venice  embodying  suggestions  of  her  past  glory  and 
accustomed  also  to  what  Mr.  Brownell  has  called  Rus- 
kin's  "savage  and  meaningless  exuberance"  in  his 
Stones  of  Venice,  were  taken  aback  and  offended  by 
Whistler's  quiet  little  renderings  of  the  wonderful  city. 
Like  Sir  Bedivere  when  that  knight  was  sent  to  throw 
away  Excalibur,  he  saw  "nothing  but  the  waters  wap 
and  the  waves  wan."  He  saw  a  low  dentellated  sky- 
line of  roofs  across  the  lagune,  a  modern  Venice,  with- 
out Doges,  without  pomp  or  splendour,  lovely  enough 
in  its  divested  and  impoverished  state,  but  lacking  its 
ancient  authoritative  magnificence.  It  was  this  aspect 
that  he  represented  and  it  had  the  merit  of  complete 
originality.  Nearly  all  critics  have  noted  the  change 
in  Whistler's  manner  in  passing  from  the  Thames 
etchings  to  those  of  Venice.  The  difference  between 
the  two  sets  is  so  great,  says  M.  Duret,  that  one  might 
believe  them  to  be  the  work  of  two  different  men 
There  is,  however,  an  underlying  likeness  that  with 
little  difficulty  can  be  traced,  and  even  the  French  set 
contains  examples  in  which  the  arrangement  of  the 
lines  and  the  light  and  shade  is  almost  identical  with 


ETCHINGS  113 

that  in  certain  Venetian  plates.  If  we  examine  The 
Kitchen  and  The  Beggars  for  their  points  of  resemb- 
lance we  shall  find  them  neither  few  nor  trivial.  In 
the  darker  impressions  of  The  Beggars  they  are  espe- 
cially notable.  Here,  as  in  The  Kitchen,  a  light  open- 
ing is  seen  at  the  end  of  a  dusky  passage,  the  light 
strikes  the  wall  at  the  right,  then  there  is  a  stretch  of 
intense  dark  and  the  edges  of  the  plate  are  in  half  light. 
The  whole  plan  of  the  design  is  the  same  in  each  plate. 
We  find  this  effect  of  looking  through  a  window  -frame 
or  doorway  to  a  scene  beyond  in  many  of  the  etchings 
of  different  periods.  In  the  plate  called  Under  Old 
Battersea  Bridge  we  look  between  the  dark  supports 
of  the  bridge,  in  the  Furnace  Nocturne  we  see  a  com- 
paratively small  square  of  intense  light  set  in  a  frame- 
work of  translucent  shadow  so  vaporous  and  shifting 
as  hardly  to  be  called  shadow,  in  the  Bead  Stringers, 
a  group  of  Italian  women  sit  in  a  doorway,  a  shuttered 
window  in  the  distance  as  in  The  Kitchen;  in  The 
Traghetto  we  look  through  a  long  tunnel  as  in  The 
Beggars  to  the  lighted  opening  at  the  other  end. 
There  are  countless  variations,  but  the  theme  is  the 
same.  In  the  same  way  such  plates  as  Price's  Candle 
Works,  Chelsea  Wharf,  Cadogan  Pier,  The  Adam 
and  Eve  Tavern  are  comparable  with  The  Bridge, 
the  Riva,  Number  Two  and  Upright  Venice  in 
their  balance  of  lines  and  spaces.  In  each  there  is 
the  effect  of  the  long  perspective,  the  amplitude  of  sky 
and  air,  the  absence  of  crowding  in  the  arrangement 
of  the  detail.  In  Mr.  Menpes's  Whistler  as  I  Knew 


114          THE  WORKS  OF  WHISTLER 

Him  are  a  trial  proof  and  a  later  impression  of  the 
plate  called  Temple  Bar,  which  together  throw  no  little 
light  on  Whistler's  method  of  carrying  an  etching  for- 
ward. In  the  trial  proof  there  are  merely  some  lines 
indicating  the  approach  of  the  interest  toward  the  cen- 
tre of  the  plate.  In  this  instance  the  archway  is  ob- 
viously to  be  the  point  on  which  attention  is  to  be  con- 
centrated and  all  the  contributory  lines  lead  up  to  it. 
In  the  later  impression  we  see  it  brilliantly  defined 
with  a  beautiful  play  of  light  and  shadow  over  its  sur- 
face and  some  sharp  accents  of  dark  on  the  buildings 
near  it,  while  the  lines  that  reach  to  the  edge  of  the 
plate  are  left  few  and  faint.  Of  this  pinning  down  of 
the  attention  to  the  salient  elements  of  the  picture 
Whistler  was  a  consummate  master.  He  never  failed 
to  direct  your  gaze  to  the  exact  spot  that  most  inter- 
ested him,  nor  did  he  ever  make  the  guidance  too 
obvious.  The  virtue  of  his  fluent  and  restful  line  is 
never  more  gratefully  felt  than  when  he  leads  you  with 
it  along  vast  distances  to  wide  horizons  finally  to  claim 
your  observation  for  a  doorway  covered  by  a  vine  or 
some  sailing  boats  asleep  between  the  night  and 
morning. 

In  going  to  Venice  he  had  one  advantage  that  could 
not  be  gained  at  home.    The  scene  presented  itself  as 

a  whole  with  the  details  of  which  he  was  at  first  un- 

/ 

familiar.  Such  a  first  impression  is  always  synthetic 
to  an  extreme  degree,  and  his  genius  was  precisely  of 
the  order  to  hold  it  and  refer  to  it  the  later  impressions 
that  came  with  his  fuller  knowledge  of  his  environ- 


ETCHINGS  115 

ment.  The  "psychological  moment"  when  he  saw 
everything  perfectly  as  a  part  of  a  co-ordinated  ap- 
pearance in  which  nothing  loomed  larger  than  its  rela- 
tive size  or  took  on  more  importance  than  belonged  to 
it  in  the  general  plan,  was  a  moment  to  which  he  clung, 
to  which  he  was  able  to  cling,  through  all  the  subse- 
quent submerging  experiences  of  his  increasing  famil- 
iarity. He  was  thus  able  to  write  his  story  of  Venice 
on  the  copper  with  an  almost  epic  largeness  in  spite  of 
the  smallness  of  the  scale.  Such  wealth  of  result  with 
such  economy  of  means  has  rarely  if  ever  before  been 
seen.  Occasionally,  as  in  the  Little  Venice  and  the 
Salute:  Dawn,  we  have  only  atmosphere,  a  wonderful 
sensation  of  moving  air  and  changing  light,  held  as  it 
were  to  the  visible  scene  by  a  few  expressive  lines 
gaining  their  expressiveness  from  the  fact  that  no 
other  lines  challenge  or  contradict  them.  It  is  char- 
acteristic of  the  time  in  which  he  worked  and  its  senti- 
ment that  Burne- Jones  might  have  said  of  him  as 
he  did  of  the  Impressionists  "they  don't  make  anything 
else  but  atmosphere — and  I  don't  think  that's  enough 
— I  don't  think  it's  very  much."  Even  Burne- Jones 
admitted,  however,  that  Whistler  was  "another  mat- 
ter" and  in  the  case  of  the  Venetian  etchings  the  pub- 
lic, according  to  M.  Duret's  report,  for  once  were  on 
Whistler's  side  against  the  critics. 

A  second  exhibition  was  held  in  February,  1883, 
in  the  galleries  of  the  Fine  Art  Society,  and  Whistler 
prepared  for  the  occasion  a  catalogue  in  which  were 
printed  various  quotations  from  the  criticisms— the 


116          THE  WORKS  OF  WHISTLER 

hostile  criticisms — that  had  appeared  in  the  more  in- 
fluential journals  on  the  subject  of  his  previous  exhibi- 
tion. Visitors  to  the  galleries  had  the  pleasure  of 
reading  in  their  catalogues,  over  the  names  of  promi- 
nent writers,  that  the  etchings  of  Mr.  Whistler  had 
little  to  recommend  them  save  the  eccentricity  of  their 
titles,  that  there  was  in  them  a  general  absence  of  tone, 
that  Mr.  Whistler  was  eminently  vulgar,  that  he  had 
produced  too  much  for  his  reputation,  etcetera.  Thus 
amused  and  already  somewhat  initiated  by  the  praise 
of  eagerly  appreciative  collectors,  they  showed  a  more 
positive  liking  for  the  second  series  of  etchings  than 
for  the  first. 

The  latest  Venetian  series  was  issued  in  1886  by 
Messrs.  Dowdeswell.  This  was  the  famous  "Twenty- 
Six"  of  which  twenty-one  were  views  of  Venice  and 
the  others  English  subjects.  Only  thirty-five  sets  were 
published  and  the  printing  was  done  by  Whistler. 

He  added  to  his  catalogue  on  this  occasion  his 
eleven  Propositions  in  which  are  announced  his 
opinions  on  the  production  of  very  large  plates 
and  on  the  habit,  then  common  with  etchers,  of 
leaving  a  broad  margin  of  paper  around  their 
work  which  usually  was  adorned  with  the  mini- 
ature sketch  known  as  the  remarque.  An  extreme  in- 
stance of  this  use  of  the  border  is  found  in  the  work 
of  Felix  Buhot,  the  French  etcher  who  died  in  1898, 
and  who  surrounded  his  main  etching  with  innumer- 
able sketches  more  or  less  closely  connected  with  it  as 
if  he  were  following  out  with  his  etching  needle  the 


EARLY  PORTRAIT  OF  WHISTLER  BY  HIMSELF. 

(From  the  etching  in  the  Avery  Collection  :     Reproduced  by  courtesy  of  the  Print  Department  of 
the  New  York  Public  Library.) 


ETCHINGS  117 

dreams  or  reflections  to  which  it  gave  rise  in  his  mind. 
Nothing  could  be  farther  from  Whistler's  concise  tem- 
per. His  Propositions  state : 

I.  That  in  Art  it  is  criminal  to  go  beyond  the  means 
used' in  its  exercise. 

II.  That  the  space  to  be  covered  should  always  be 
in  proper  relation  to  the  means  used  for  covering  it. 

III.  That  in  etching  the  means  used,  or  instrument 
employed,  being  the  smallest  possible  point,  the  space 
to  be  covered  should  be  small  in  proportion. 

IV.  That  all  attempts  to  overstep  the  limits  insisted 
upon  by  such  proportion  are  inartistic  thoroughly,  and 
tend  to  reveal  the  paucity  of  means  used  instead  of  con- 
cealing the  same,  as  required  by  Art  in  its  refinement. 

V.  That  the  huge  plate,  therefore,  is  an  offence — 
its  undertaking  an  unbecoming  display  of  determina- 
tion and  ignorance — its  accomplishment  a  triumph 
of  unthinking  earnestness  and  uncontrolled  energy — 
both  endowments  of  the  "duffer." 

VI.  That  the  custom  of  "remarque"  emanates  from 
the  amateur,  and  reflects  his  foolish  facility  beyond  the 
border  of  his  picture,  thus  testifying  to  his  unscientific 
sense  of  its  dignity. 

VII.  That  it  is  odious. 

VIII.  That,  indeed,  there  should  be  no  margin  on 
the  proof  to  receive  such  "remarque." 

IX.  That  the  habit  of  margin,  again,  dates  from 
the  outsider  and  continues  with  the  collector  in  his  un- 
reasoning connoisseurship — taking  curious  pleasure 
in  the  quantity  of  paper. 


118         THE  WORKS  OF  WHISTLER 

X.  That  the  picture  ending  where  the  frame  begins, 
and  in  the  case  of  the  etching,  the  white  mount,  being 
inevitably  because  of  its  colour  the  frame,  the  picture 
thus  extends  itself  irrelevantly  through  the  margin  to 
the  mount. 

XI.  That  wit  of  this  kind  would  leave  six  inches  of 
raw  canvas  between  the  painting  and  its  gold  frame  to 
delight  the  purchaser  with  the  quality  of  the  cloth. 

In  accordance  with  these  views  Whistler  trimmed 
all  his  later  etchings  close,  leaving  only  a  little  bar  for 
the  butterfly  signature  and  the  printer's  mark. 

Following  the  Twenty-Six  came  French  and  Eng- 
lish, Belgian  and  Dutch  plates,  little  shops  and  scenes 
on  the  boulevards  and  in  the  public  gardens,  notes  of 
streets  and  models  and  little  children,  with  an  occa- 
sional single  plate  given  to  some  subject  rarely  found 
in  his  work,  as  the  magnificent  Sunflowers,  Rue  des 
Beaux- Arts  in  which  it  is  impossible  not  to  regret  the 
absence  of  colour,  and  the  little  plate  called  An  Eagle 
in  which  the  national  bird  of  the  artist's  country  wears 
a  very  mild  aspect,  but  is  delightfully  drawn.  In  1887, 
the  year  of  Queen  Victoria's  first  Jubilee,  he  made  a 
little  series  of  plates,  called  the  Naval  Review  set, 
during  the  day  of  the  Review  at  Spithead.  This  set 
was  presented  to  the  Queen  by  Whistler  in  a  portfolio 
of  his  own  design,  a  fact  that  emphasized  the  disagree- 
able impression  caused  among  his  admirers  by  the  sale 
of  the  Windsor  collection  of  his  etchings  in  which  this 
presentation  set  was  included. 

Like  their  predecessors,  the  later  etchings  embody  a 


ETCHINGS  119 

purely  personal  vision  recorded  in  a  purely  personal 
manner.  To  their  technical  qualities  practical  etchers 
have  brought  their  warm  support,  and  even  the  ama- 
teur with  a  very  little  study  and  comparison  can  dis- 
tinguish the  special  distinction  of  the  flexible  line  and 
the  evanescent  gradations  of  tone  by  which  mystery 
and  romantic  charm  are  brought  into  the  prints  as  into 
the  subtlest  of  the  paintings.  It  is  a  matter  of  concern 
to  the  collector  that  much  of  the  effect  depends  upon 
the  printing,  the  line  becoming  less  and  less  insistent. 
An  experienced  critic  has  said  with  reason  that  "no 
printer  can  print  a  good  proof  from  a  bad  plate,  but 
per  contra,  a  maladroit  printer  would  surely  spoil  the 
effect  of  the  finest  plate  in  the  world."  Whistler  man- 
aged to  give  a  luminous  quality  to  the  darkest  of  his 
prints,  and  his  subject  invariably  lies  bathed  in  am- 
bient air.  Plates  from  which  impressions  have  been 
made,  both  by  professional  printers  and  by  him,  reveal 
the  artistic  value  of  his  touch  upon  the  copper  as  upon 
any  other  material.  With  his  light  films  of  ink  he 
made  his  impressions  enchantingly  poetic  where  in 
the  hands  of  even  accomplished  craftsmen  the  same 
plate  became  comparatively  prosaic.  Each  proof,  as 
Mr.  Wedmore  has  said,  is  practically  a  painting  by  his 
hand  and  the  fastidious  care  of  a  collector  bent  upon 
securing  a  characteristic  and  representative  example 
is  abundantly  justified.  Even  where  the  choice  lies 
among  impressions  each  of  which  Whistler  himself  has 
printed  a  range  is  possible.  There  is  the  difference  in 
paper  and  the  difference  in  the  inks  used,  an  impres- 


120          THE  WORKS  OF  WHISTLER 

sion  in  brown  ink  having  an  absolutely  other  pictorial 
effect  from  one  printed  in  black  ink.  Each  proof  of 
the  Venice  Nocturne  is  different  from  the  rest ;  in  one 
instance,  as  in  the  proof  owned  by  Mr.  Babbott,  it  is  a 
pure  night  effect  with  the  gentlest  possible  gradation 
of  tones ;  in  another  it  is  evening  or  early  morning  with 
a  band  of  light  in  the  water  and  sky.  In  certain  im- 
pressions a  granular  effect  has  been  given  to  the  dark- 
est shadow  and  the  wiping  has  been  done  with  a  down- 
ward stroke.  These  variations  are  of  importance  only 
as  they  meet  the  taste  of  the  collector.  Each  copy  is 
beautiful  and  has  an  individuality,  and  each  represents 
the  same  skill  that  produced  the  nocturnes  in  colour, 
dealing  in  this  case  with  printer's  ink  instead  of  pig- 
ment. 

Many  of  the  subjects  of  the  etchings  are  portraits 
and  these  have  frequently  the  extraneous  interest  of 
representing  members  of  the  talented  group  in  which 
Whistler  moved  during  his  early  years.  There  is 
Astruc — A  Literary  Man  from  the  poet  and  sculptor 
who  posed  for  the  music  master  in  Manet's  Lecon  de 
Musique,  and  who  appears  in  the  etching  with  bushy 
dishevelled  hair,  thick  beard  and  reflective,  slightly  ab- 
sent eyes.  There  was  Becquet,  also  a  sculptor  but 
represented  as  "a  fiddler";  a  third  sculptor,  Drouet, 
furnished  the  model  for  a  magnificent  head  that  was 
etched,  M.  Duret  says,  in  two  sittings  with  five  hours 
of  pose.  There  was  Axenfeld  and  later  the  Leyland 
family  and  there  was  Swinburne.  There  were  also 
portraits  of  Whistler  himself,  the  earliest,  made  before 


ETCHINGS  121 

1858,  showing  a  mobile  face  with  alert  eyes  and  an  ex- 
pression interrogative  and  keen,  and  already  dealing 
with  comparisons  and  measurements. 

Numerically,  Whistler's  etchings  are  not  yet  fixed 
within  definite  limits.  The  subjects  have  considerably 
exceeded  four  hundred  and  of  each  subject  there  are 
usually  several  known  states — and  still  they  come. 
The  prices  of  the  rarer  and  finer  impressions  have 
mounted  to  so  great  a  height  within  the  past  few  years 
as  to  be  in  themselves  picturesque.  In  Mr.  Wedmore's 
book  on  Fine  Prints,  published  in  1897,  he  says: 

"As  to  the  prices  of  Whistlers  in  the  open  mar- 
ket? Well,  they  increase,  unquestionably.  Some  of 
the  very  greatest  rarities,  it  may  be  remembered,  have 
never  appeared  in  the  auction-room.  There  are  half- 
a-dozen,  I  suppose,  for  any  one  of  which,  did  it  appear, 
forty  or  fifty  guineas  would  cheerfully  be  paid.  .  .  . 
The  time  when  Mr.  Heywood  sold  his  Whistlers  was 
the  fortunate  time  to  buy.  A  First  State  of  the  Rag 
Gatherers  was  sold  then  for  less  than  two  pounds;  a 
First  of  the  Westminster  Bridge  (then  called  "The 
Houses  of  Parliament")  for  about  five  pounds,  and 
many  quite  desirable  things  went  for  a  pound  apiece — 
or  a  few  shillings." 

At  the  sale  of  Mr.  Hutchinson's  collection  in  1892 
an  impression  of  The  Palaces  brought  less  than  fifty 
dollars  (£8  155.)  ;  at  the  Carter  sale  of  1905  an  early 
impression  brought  three  hundred  and  ninety  dollars, 
or  more  than  eight  times  as  much,  and  the  winter  of 
1906  saw  this  later  price  doubled.  At  the  Hutchinson 


122          THE  WORKS  OF  WHISTLER 

sale  an  impression  of  the  exquisite  plate  called  The 
Garden  sold  for  less  than  a  tenth  of  what  an  impres- 
sion brought  at  the  Carter  sale.  At  the  sale  of  Dr. 
Edward  Riggle's  collection  at  Sotheby's  in  1901  the 
rare  Second  State  of  The  Kitchen  sold  for  seventeen 
pounds  and  five  shillings ;  at  the  Carter  sale  less  than 
four  years  later  a  Second  State  brought  three  hundred 
and  sixty  dollars,  or  more  than  four  times  as  much. 

At  the  Carter  sale  a  fine  impression  of  the  Nocturne 
with  the  early  morning  effect  brought  seven  hundred 
and  twenty-five  dollars,  a  price  that  was  noted  as 
record-breaking.  In  the  winter  of  1906  at  a  dealer's 
sale  a  fine  impression  of  the  Nocturne  brought  fifteen 
hundred  dollars.  These  comparisons  are  of  little 
value  as  indicating  the  future  prices  of  the  etchings, 
but  they  show  the  spirit  in  which  Whistler's  work  is 
now  received.  The  less  important  plates — and  this 
perhaps  is  more  significant — have  risen  in  price  pro- 
portionately. A  good  impression  of  the  charming 
little  Fulham  was  sold  last  winter  by  one  dealer  for 
twenty-four  dollars,  but  at  a  special  exhibition  during 
the  same  winter  it  brought  nearly  twice  as  much. 

It  would  be  quite  impossible  at  the  present  time  to 
form  a  complete  collection  of  Whistler's  etchings  and 
there  are  as  yet  no  signs  that  it  ever  will  be  easier  for 
collectors  of  modest  means  to  gather  a  number  of  the 
more  beautiful  examples  of  his  work  into  their 
Solander  boxes. 


LITHOGRAPHS 


CHAPTER  SEVENTH. 

Lithographs. 

WHISTLER'S  attention  was  turned  to  litho- 
graphy in  1878  when  Mr.  Thomas  Way  de- 
scribed to  him  the  process  that  had  then  been 
in  use  about  eighty  years  and  was  just  emerging  from 
the  discredit  into  which  it  had  been  cast  by  the  purely 
commercial  and  detestable  chromos  produced  by  its 
means.  He  was  not  the  first  to  use  the  lovely  and 
responsive  medium  with  the  respect  it  deserves.  The 
very  year  that  he  began  to  work  on  the  stone  a  large 
collection  of  Daumier's  lithographs  were  on  exhibition 
at  the  Durand-Ruel  galleries  in  Paris,  attesting  that 
artist's  noble  command  of  his  pliable  instrument, 
Gavarni's  work  was  ended  and  had  included  a  wide 
range  of  technical  felicities,  the  German  Menzel  had 
produced  his  series  with  brush  and  scraper.  Dela- 
croix, Decamps,  Corot  and  Raffet  all  had  made 
artistic  use  of  the  medium.  Fantin-Latour  already 
had  adopted  it  as  a  means  of  expression  for  the  emo- 
tions inspired  in  him  by  music.  Whistler,  therefore, 
would  have  had  no  excuse  for  doubting  its  possi- 
bilities. That  he  did  not  doubt  them  is  shown  by  his 
adventurous  plunge  into  the  most  difficult  subjects 
with  perfect  confidence  in  the  power  of  the  stone  to 
yield  ultimately  successful  results. 

He  at  first  proposed  to  issue  privately  a  limited  num- 
ber of  impressions  to  subscribers  under  the  title  Art 


126          THE  WORKS  OF  WHISTLER 

Notes,  but  the  response  was  so  small  that  the  idea  was 
abandoned.  Mr.  Theodore  Watts,  editor  of  Piccadilly, 
promptly  asked  for  illustrations  to  that  periodical  and 
four  drawings  were  made:  The  Toilet,  Early  Morn- 
ing, the  Tall  Bridge  and  Broad  Bridge.  Only  two, 
The  Toilet  and  Broad  Bridge,  were  issued,  as  the  mag- 
azine then  failed.  After  1878  lithography  lapsed  in 
his  interest  until  1887,  when  he  again  took  it  up  and 
produced  the  larger  number  of  his  subjects.  He 
worked  very  carefully  as  in  everything  that  he  at- 
tempted, sometimes  on  the  stone  and  again  on  transfer 
paper,  in  which  case  he  usually  worked  on  the  stone 
after  the  drawing  had  been  transferred,  enriching  and 
completing  it. 

His  lithographs,  innocent  as  the  rest  of  his  work  of 
symbolic  or  historic  intention,  commemorate  delight- 
ful aspects  of  life  in  Brittany,  Devonshire,  Paris, 
Rouen,  London  and  other  places  explored  by  the  artist 
for  their  intimate  and  finer  sides.  It  is  curious  to  look 
at  such  a  drawing  as  the  Little  London  with  its  em- 
bankment and  bridges,  its  public  buildings  and  the  St. 
Paul's  dome,  or  such  a  drawing  as  the  Savoy  Pigeons 
with  Lambeth  Palace  and  the  Houses  of  Parliament, 
with  barges  passing  under  Charing  Cross  Bridge,  and 
the  endless  stream  of  vehicles  and  passers-by  asso- 
ciated with  the  great  city,  and  reflect  from  what  an 
enormous  heap  of  material  Whistler  deduced  his  deli- 
cate designs.  He  dealt  with  the  vast  cumbrous  exces- 
sive mass  of  the  town  in  its  most  gregarious  form.  He 
depicted  its  movement,  its  industry,  its  immensity,  its 


"-•*.'-.__. 


'• 


• 

" 


&' 


:  V     "^^ 
, 


" 


THE  HOROSCOPE. 
(From  Lithograph.) 


LITHOGRAPHS  127 

richness,  without  once  losing  his  head  and  making  his 
scheme  too  big  for  his  means. 

He  is  equally  happy  in  a  genre  which  he  enters  more 
frequently  in  his  lithographs  than  in  any  other  of  his 
mediums,  in  the  little  pictures,  that  is,  of  personal  in- 
cidents— The  Old  Smith's  Story;  La  Blanchisseuse  de 
la  Place  Dauphine;  Tete-a-tete  in  the  Garden;  The 
Clock-Makers,  Paimpol;  etc.  These  are  quiet  little 
stories  of  the  day,  like  those  of  Daudet,  in  which,  ap- 
parently, the  artist  dropped  something  of  his  exigent 
aversion  to  descriptive  titles ;  many  of  the  names  being 
in  themselves  pictures  of  very  definite  suggestion. 
La  Belle  Dame  Endormie,  La  Belle  Jardiniere,  Con- 
fidences in  the  Garden,  The  Horoscope,  Afternoon 
Tea,  all  these  give  access  to  the  little  scene  depicted. 
And  the  scene  itself  wears  in  the  lithographs  a  softer 
charm  than  in  the  etchings,  owing  chiefly,  no  doubt, 
to  the  softer  character  of  the  chalk  line,  but  also  a  little 
to  the  fact  that  here  Whistler  was  frankly  experiment- 
ing and  consequently  not  quite  so  sharp  and  sure  in  his 
treatment,  and  yet  was  sufficiently  learned  in  his  art  to 
know  precisely  what  he  was  trying  for  and  that  he 
could  get  it.  How  far  he  was  a  master  of  lithographic 
technique  none  but  the  initiated  may  say.  So  high  an 
authority  as  Mr.  Way  recently  has  declared  that  it  is 
"likely  to  be  many  years  before  there  comes  another 
master  to  add  to  the  many  sides  of  lithography,  others 
than  those  in  each  of  which  Whistler  has  left  a  master- 
piece," but  Whistler  himself  called  forth*  this  eulogy 
by  referring  to  himself  as  "a  beginner"  in  the  art  as 


128          THE  WORKS  OF  WHISTLER 

late  as  1896,  when  he  had  been  familiar  with  it  for 
nearly  twenty  years  and  had  worked  in  it  consecu- 
tively for  about  half  as  long.  In  a  certain  sense,  per- 
haps, he  was  a  beginner  and  always  would  have  re- 
mained one.  It  is  hardly  probable  that  he  would  ever 
have  produced  much  with  the  idea  of  illustrating 
merely  technical  problems,  or  of  seeking  for  that  rea- 
son the  qualities  that  would  bring  out  the  fullest  re- 
sources of  the  medium.  He  was  first  and  foremost 
an  artist,  not  an  expert  practitioner,  and  nothing  in 
the  world,  we  may  imagine,  interested  him  so  much  as 
the  artistic  expression  of  his  subject.  It  was  a  now 
historic  mistake  to  call  him  an  "amateur  prodigue" 
and  he  had  his  own  bitter  word  or  two  for  amateurs. 
Nevertheless,  it  wrould  take  something  from  his  ex- 
traordinary perfection  if  the  trace  of  the  amateur  were 
subtracted  from  his  accomplishment.  An  artist  not 
less  exacting  than  he  in  other  materials  has  noted  that 
unless  there  is  a  little  of  the  amateur  in  a  man's  work 
it  hardly  can  be  ranked  as  art  and  it  is  precisely  the 
unprofessional  note  in  the  lithographs  that  gives  them 
their  enchanting  grace.  Nowhere  else  except  in  his 
pencil  and  pen  and  ink  drawings  does  he  so  gaily  re- 
veal his  knowledge  that  "art  and  joy  go  hand  in  hand." 
The  difficulty  of  the  medium  is  just  enough  to  add  zest 
to  the  conquering,  and  its  beauty  is  rewarding  to  an 
extreme  degree.  The  black  or  grey  line  or  wash, 
showing,  as  it  does,  against  the  white  ground  has 
peculiar  charms  for  an  artist  in  love  with  the  thing 
seen  rather  than  with  the  method  of  reproduction,  and 


LITHOGRAPHS  129 

the  method  is  free  from  that  rebellion  of  the  material 
which  makes  etching  a  species  of  battle  between  the 
artist  and  his  instrument. 

Precisely  because  he  did  not  regard  any  method  as 
of  more  importance  on  its  technical  than  on  its  artistic 
side  Whistler  demanded  extraordinary  results,  and 
was  not  satisfied  with  anything  short  of  supreme  suc- 
cess in  producing  the  final  artistic  effect.  Conse- 
quently many  of  his  lithographs,  like  the  finer  of  his 
etchings,  are  of  course  marvellous  from  the  point  of 
view  of  the  technician  who  keeps  within  the  known 
bounds  of  the  process.  With  the  result  in  mind  from 
the  beginning  as  the  important  matter  Whistler  ex- 
tended its  capacity  to  the  furthest  limits  of  his  require- 
ments. 

In  the  wonderful  lithotint  Early  Morning,  for  ex- 
ample, the  stone  was  called  upon  to  reproduce  that 
mystery  of  air  and  water  which  he  had  won  with  oils, 
with  etching  and  with  pastel.  With  repeated  revision 
and  labour  the  effect  was  gained,  and  a  comparison  of 
two  of  the  states  shows  the  pains  spent  upon  it.  The 
scene  is  the  river  at  Battersea,  with  a  group  of  build- 
ings stretched  along  the  horizon,  a  bridge  in  the  dis- 
tance, and  in  the  foreground  some  barges  and  two  men 
leaning  on  a  bar.  In  the  first  state  the  clouds  in  the 
sky  are  heavy  with  sharp  edges,  and  both  the  sky  and 
river  are  murky  in  tone.  By  scraping  and  re-etching 
the  cloud  edges  and  heavy  darks  were  removed  until 
an  exquisite  suggestion  of  light  stealing  into  the  air 
was  gained,  and  in  the  second  state  the  soft  mists  of 


130          THE  WORKS  OF  WHISTLER 

dawn  hang  over  the  horizon.  The  note  of  highest 
light  was  also  transferred  from  the  sky  at  the  left  to 
the  shirt  or  blouse  of  a  longshoreman  at  the  right  of 
the  foreground  where  it  completes  with  entire  felicity 
the  delicately  suggested  pattern  of  light  playing 
through  the  composition.  In  the  same  way  other  sub- 
jects were  transformed.  The  Priest's  House-Rouen 
is  so  changed  that  what  was  a  light  house  in  the  first 
state  is  a  dark  one  in  the  second.  The  Blacksmith  in 
the  first  state  is  gray  and  dim  and  in  the  finished  state 
brilliant  and  rich  in  colour.  It  is  suggestive  of  the 
unremitting  attention  to  reality  which  survived  in 
Whistler's  art  all  his  distaste  for  realism  that  when  he 
made  a  rather  dark  drawing  of  his  life-long  intimate, 
the  Thames,  he  had  the  stone  taken  back  to  his  room 
in  the  Savoy  Hotel  that  he  might  have  nature  to  refer 
to  while  correcting  the  defects  of  the  first  impression. 
A  comparison  between  Whistler's  lithographs  and 
those  of  Fantin-Latour  is  interesting  as  showing  how 
Whistler's  art  diverged  in  this  medium  from  that  of 
his  early  companion.  Fantin  as  we  know  was  a  mu- 
sician by  instinct  and  training  and,  true  to  his  wor- 
shipping disposition,  in  his  lithographs  he  erected 
monuments  to  different  composers,  striving  to  illus- 
trate with  the  chalk  the  music  of  Berlioz,  Rossini, 
Wagner,  Schumann  and  Brahms.  If  we  look  at  one 
of  his  later  prints  of  a  scene  in  a  garden,  we  see  at 
once  how  he  meant  to  convey  not  merely  the  impres- 
sion but  all  the  possible  data  of  dense  foliage,  marble 
fountains,  moonlit  sky,  and,  in  the  action  of  the 


LITHOGRAPHS  131 

figures,  a  drama  of  incident  and  emotion  worthy 
of  a  large  canvas.  All  the  surface  is  covered, 
aerial  perspective  is  rendered  by  marked  gradations 
of  tone,  objects  are  modelled  in  detail  and  the  forms 
have  the  roundness  of  high  relief.  He  managed  to  do 
all  this  without  loss  of  delicacy  in  the  result,  but  noth- 
ing could  be  more  different  from  the  synthesis  em- 
ployed by  Whistler,  whose  lithographs  and  chalk 
drawings  have  just  the  look  of  having  been  made  in  a 
temporary  undurable  medium  which  from  the  nature 
of  the  materials  it  is  appropriate  they  should  have. 

In  his  coloured  lithographs,  of  which  there  are  half 
a  dozen  subjects,  Whistler  has  justified  all  that  he  has 
ever  claimed  for  the  charm  of  unpremeditated  effects 
and  apparently  unlabourious  notes  of  passing  tones 
and  tints.  His  Yellow  House-Lannion  is  perhaps  the 
most  engaging  of  the  number.  Its  brown  roof 
patched  with  yellow  lichen,  the  green  woodwork  of  its 
windows,  its  faint  purplish  shadows,  plunge  the  mind 
into  contemplation  of  remembered  loveliness  in  colour 
and  atmosphere,  of  unforgotten  old  white  buildings 
bathed  in  light  and  touched  with  the  tone  of  time. 
Coloured  inks  and  the  process  are  not  to  be  thought 
of  in  connection  with  the  mellow  sentiment  of  the 
perfect  little  print.  All  the  coloured  prints,  however, 
illustrate  the  possibility  of  combining  a  number  of 
colours  in  a  modern  lithograph  without  missing  the 
sense  of  their  resting  like  fragments  of  tinted  light  on 
a  surface  suffused  with  a  harmonising  tone,  the  sense 
that  we  gain  from  the  best  of  the  old  Japanese  wood- 


132          THE  WORKS  OF  WHISTLER 

blocks.  But  the  peculiar  richness  and  softness  of  the 
old  Japanese  print  is  not  there,  and  it  is  tempting  to 
believe  that  the  reason  such  an  artist  as  Whistler  could 
not  in  his  coloured  prints  produce  an  effect  of  har- 
mony and  tone  equal  to  that  obtained  by  the  Eastern 
colour-print  artists  is  simply  this — that  the  pure  and 
costly  colours  used  by  the  Japanese  artists  of  the  eight- 
eenth century  were  not  at  his  disposal.  In  the  Draped 
Figure,  reclining,  we  have  another  illustration  of  the 
theory  of  colour  repetition  analysed  by  Whistler  in 
his  letter  to  Fantin  and  shown  in  so  many  of  his  paint- 
ings. The  principle  again  is  perfectly  carried  out 
without  the  sense  of  disintegrated  colour  given  by  the 
Impressionists,  and  in  this  instance  the  white  ground 
affords  no  aid  in  achieving  a  general  harmony.  In 
the  Lenox  Library  copy  the  cap  is  reddish  purple  with 
a  pale  green  band  and  the  green  appears  again  in  the 
folds  of  the  thin  drapery,  hardly  tinging  it.  The  yel- 
low of  the  hair  is  repeated  in  the  fan.  The  red  of  the 
flushed  cheeks  is  suggested  throughout  the  flesh-tones 
and  the  drapery  of  the  couch  is  touched  with  red.  The 
outlines  are  grey  and  a  faint  greyish  tone  shimmers 
on  the  surface  of  the  couch.  The  blue  that  is  quite 
distinct  in  the  spots  on  the  porcelain  jar  flutters  across 
the  background  merely  staining  it,  and  a  hint  of  it  is 
in  the  figure  of  the  fan  and  in  the  edge  of  the  drapery 
that  lies  upon  the  floor.  The  purple  of  the  cap  is  seen 
again  in  the  butterfly  signature.  The  paper  of  this 
copy  is  Japan,  "extra  thin"  and  of  pearly  whiteness. 
It  is  difficult  to  convey  in  words  any  idea  of  the  ethe- 


"THE  GOSSIPS "— AJACCIO. 

Reproduced  by  kind  permission  of  R.  A.  Canfield,  Esq. 


LITHOGRAPHS  133 

real  lightness  of  the  whole  effect  in  which,  notwith- 
standing its  diaphaneity  a  crisp  succinctness  of  touch 
is  maintained. 

In  the  new  catalogue  of  the  lithographs  brought  out 
by  Mr.  Way,  a  second  and  revised  edition  of  the  one 
published  in  1896,  thirty  subjects  have  been  added  to 
the  one  hundred  and  thirty  originally  catalogued  and 
described,  but  only  a  few  of  these  were  drawn,  he  says, 
later  than  1896.  In  many  cases  only  a  half-dozen 
proofs  were  pulled,  and  in  very  few  cases  as  many  as 
thirty.  This  will  add,  no  doubt,  to  the  zest  of  collect- 
ors and  to  the  final  market  value  of  the  rarer  subjects, 
and  an  unfortunate  circumstance  noted  by  Mr.  Way 
will  increase  the  difficulty  already  experienced  of  pro- 
curing fine  proofs  of  the  greater  number  of  the  litho- 
graphs. It  seems  that  shortly  after  the  first  edition 
of  the  catalogue  was  issued  all  the  stones  with  Whist- 
ler's drawings  upon  them  were  withdrawn  from  the 
keeping  of  his  printers  and  placed  in  the  cellars  of  his 
solicitors,  where  they  remained  until  about  a  year 
after  his  death,  when  an  edition  of  twenty-five  proofs 
was  reprinted  from  certain  of  them  by  Mr.  Goulding 
and  the  drawings  erased  from  the  stones.  "Now 
lithographic  stones  with  drawings  upon  them  require 
attention  from  time  to  time,"  Mr.  Way  explains,  "espe- 
cially if  they  are  grained  stones,  as  the  greater  part  of 
Whistler's  were,  else  the  ink  dries  too  hard,  so  that 
when  they  are  next  taken  in  hand  after  a  long  inter- 
val, they  are  liable  to  suffer  serious  deterioration  in 
the  effort  made  to  recover  the  printing  qualities.  The 


134          THE  WORKS  OF  WHISTLER 

delicate  work  weakens  by  neglect,  and  the  stronger 
parts  are  apt  to  become  overstrong  in  the  printer's 
effort  to  recover  the  weaker.  The  result  is  a  muddy, 
heavy-looking  print  when  compared  with  an  early 
proof."  As  only  fifty-five  out  of  almost  one  hundred 
subjects  handed  over  to  Whistler's  solicitors  were  ex- 
hibited at  the  time  of  the  exhibition  of  the  reprints 
made  after  Whistler's  death,  Mr.  Way  fears  that 
many  of  the  stones  thus  suffered  irreparable  harm. 

It  is  only  recently  that  Whistler's  lithographs  have 
been  regarded  with  the  respect  accorded  to  his  etch- 
ings, and  even  now  the  best  and  rarest  of  them,  if  it  is 
in  the  market  at  all,  may  be  purchased  for  less  than 
half  the  price  brought  by  a  Whistler  etching  of  equal 
beauty  and  rarity.  But  the  time  undoubtedly  will 
come  when  a  fine  proof  of  the  Yellow  House-Lannion 
or  the  ineffably  beautiful  figure  called  The  Horoscope 
or  the  exquisitely  tender  and  pathetic  drawings  of  the 
artist's  wife  that  express  so  movingly  his  inner  feeling 
will  be  immoderately  desired.  In  the  meantime  lovers 
of  art  of  but  moderate  means  may  well  rejoice  that 
they  have  within  their  reach  a  number  of  examples  of 
Whistler's  art  absolutely  autographic  in  character; 
and,  thanks  to  his  scrupulous  conscience  as  an  artist, 
as  beautiful  in  their  way  as  the  paintings. 

NOTE  :  Since  the  above  was  written  a  beautiful  proof  of  The  Yellow 
House  at  Lannion  has  brought  three  hundred  and  seventy-five  dollars, 
nearly  four  times  the  price  it  was  offered  to  the  same  collector  less 
than  ten  years  ago. 


ON  WHISTLER'S  THEORY  OF  ART 


w 


CHAPTER  NINTH. 
On  Whistler's  Theory  of  Art. 

HEN  we  think  of  the  art  of  the  Nineteenth 
Century  in  its  richer  manifestations,  how 
does  Whistler  come  into  the  mind?  As 
expressing  a  tendency  of  modern  times  or  as  cor- 
recting modern  tendency  by  the  permanent  classic 
ideal?  Did  he  move  in  a  round  so  narrow  that 
the  great  people  of  the  past  would  be  justified  in 
asking  him  the  question  framed  for  them  by  one 
of  his  critics:  "Was,  then,  our  time  so  impoverished 
that  this  seemed  wealth  to  it?"  or  did  he  touch  his 
time  on  many  sides  and  respond  freely  to  its  various 
solicitations  ?  In  attempting  to  see  him  justly  at  this 
so  short  range,  it  is  necessary  to  recall  something  of 
what  has  been  accomplished  by  his  contemporaries. 
We  may  doubt  if  ultimately  this  will  be  considered  an 
age  of  poor  endeavour  or  meagre  performance.  It  has 
given  birth  to  two  important  landscape  schools  in 
France,  the  so-called  "Barbizon  School"  and  that  of 
the  "Impressionists,"  and  each  school  has  marked  in 
its  own  way  a  point  of  view  completely  original  and 
almost  new — one,  the  expression  in  landscape  art  of 
intensely  personal  sentiment ;  the  other,  the  expression 
of  science  consciously  applied  in  the  representation  of 
natural  phenomena.  In  England  appeared  one 
painter  of  landscape  who  neither  developed  a  school 
nor  belonged  to  one. — Turner,  who  died  in  1851,  at- 


138          THE  WORKS  OF  WHISTLER 

tacked  and  championed  for  much  that  he  was  not  and 
little  known  or  loved  for  what  he  was.  Constable's 
influence,  on  the  other  hand,  extended  over  more  than 
one  country  and  made  the  early  years  of  the  Nine- 
teenth Century  years  of  departure  on  the  road  to 
ideals  in  art  previously  only  foreshadowed  by  isolated 
examples. 

In  figure-painting  there  were  many  evidences  of 
strong  individuality  among  men  of  diverse  tempera- 
ments. Manet  was  but  one  year  older  than  Whistler ; 
Watts  fourteen  years  and  Rossetti  six  years  older. 
If  he  was  unlike  all  these,  they  were  equally  unlike 
each  other,  so  that  he  neither  was  an  isolated  example 
of  originality  in  the  sense  that  he  belonged  to  no 
school  nor  in  the  sense  that  he  only  in  his  day  was 
original.  There  surely  never  was  a  time  when  it 
could  be  said  more  truly  than  in  the  latter  half  of  the 
Nineteenth  Century  that  a  school  of  isolated  original 
painters  existed.  Nevertheless,  as  we  look  back  over 
the  period  covered  by  his  life  of  sixty-nine  years,  we 
seem  to  be  able  to  grasp  a  few  general  tendencies  and 
to  observe  in  what  direction  the  current  of  the  age 
carried  these  individual  argosies.  Nothing  is  more 
certain  than  that  they  were  not  borne  toward  dille- 
tantism.  If  we  compare  them  with  the  art  of  France 
during  the  reign  of  Louis  XV.  or  the  art  of  England 
in  the  Eighteenth  Century,  we  perceive  at  once  how 
little  patience  the  artists  of  the  Nineteenth  Century,  in 
these  two  countries  at  least,  had  with  artificiality  in 
the  ordinary  acceptation  of  the  word.  Even  where 


THE  DOORWAY— VENICE. 

(Pastel.) 

Reproduced  by  bind  permission  of  R.  A.  Canfield,  Esq. 


ON  WHISTLER'S  THEORY  OF  ART     139 

they  went  back,  as  did  Burne- Jones,  to  a  form  of  ex- 
pression that  might  be  classed  as  spiritually  baroque 
and  aenemic,  they  did  not  so  much  assume  a  virtue 
which  they  had  not  as  clothe  a  virtue  which  they  dis- 
tinctly had  with  a  form  unfitted  to  it.  The  "sincerity" 
of  Burne- Jones  was  indubitable,  but  it  had  not  force 
enough  to  guide  his  workmanship.  We  can  imagine 
a  fastidious  craftsman  applying  to  his  art  the  words 
of  Gautier : 

"Fi,  du  rhythme  commode, 
Comme  un  soulier  trop  grand." 
The  Pre-Raphaelite  Brotherhood  was  moved  by  the 
same  impulse  toward  reality  as  the  Impressionists. 
The  difference  between  the  two  schools  was  one  of 
mental  and  imaginative  grasp.  In  France,  almost 
invariably  so  far  as  the  masters  were  concerned, 
together  with  the  impulse  toward  reality  went  the 
desire  to  realize  the  unseen.  It  was  not  enough  for 
Monet  to  paint  the  surface  of  the  natural  world,  he 
was  impelled  to  search  the  sources  of  movement  and 
vibration  in  air  and  light  and  to  know  why  appear- 
ances were  as  they  were,  in  order  intellectually  to 
create  instead  of  imitatively  to  reproduce  them.  Nor 
was  it  enough  for  Monet  to  paint  a  portrait  of  Faure 
as  Hamlet  in  which  the  identity  of  the  Shakespearean 
character  was  superficially  indicated;  he  added  his 
analysis  of  Faure's  point  of  view  and  depicted  such  a 
Hamlet  as  was  framed  in  the  opera-singer's  mind. 
Material  detail  as  these  men  used  it  is  surcharged  with 
significance  and  Whistler  pushed  significance  to  its 


140         THE  WORKS  OF  WHISTLER 

extreme  limit,  but  with  them  the  significance  takes  a 
positive  and  with  him  a  relative  position.  Mr. 
Brownell  has  indicated  the  nature  of  Monet's  achieve- 
ment in  getting  as  near  as  possible  to  the  individual 
values  of  objects  as  they  are  seen  in  nature :  "Things 
now  drop  into  their  true  place,"  he  says,  "look  as  they 
really  do,  and  count  as  they  count  in  nature,  be- 
cause the  painter  is  no  longer  content  with  giv- 
ing us  nature  itself.  Perspective  acquires  its  act- 
ual significance,  solids  have  substance  and  bulk  as  well 
as  surfaces,  distance  is  perceived  as  it  is  in  nature,  by 
the  actual  interposition  of  atmosphere,  chiaro-oscuro 
is  abolished ;  the  ways  in  which  reality  is  secured  being 
in  fact  legion  the  moment  real  instead  of  relative 
values  are  studied."  So  far  as  this  Whistler,  as  we 
have  seen,  went  with  the  most  distinguished  of  his 
contemporaries ;  like  them,  he  was  completely  serious, 
and  in  representing  reality  he  looked  beyond  the  ex- 
ternal,  but/  he  went  farther  than  any  of  them  in  his 
discrimination  of  the  relations  between  what  he 
painted  and  what  he  did  not  paint,  which  constitutes, 
I  think,  his  chief  claim  to  originality.  Nearly  all 
painters  appear  in  their  work  to  be  confining  them- 
selves to  the  subject  immediately  in  hand.  They 
appear  to  be  seeing  it  not  merely  as  an  organic  whole, 
in  the  case  of  the  capable  ones,  but  as  an  isolated  whole 
without  connections  with  cognate  subjects.  For  this 
reason  their  pictures,  however  various  and  differ- 
entiated, are  apt  to  have  in  common  the  note  of  em- 
phasis suggesting  a  certain  provincialism  in  the  artist 


ON  WHISTLER'S  THEORY  OF  ART     141 

or  at  least  an  absence  of  that  peculiar  cosmopolitan 
quality  that  brings  continually  into  evidence  the  pres- 
ence of  a  back-ground,  invisible  as  well  as  visible,  and 
composed  of  constantly  changing,  flowing  relations 
between  all  noted  phenomena. 

This  quality  Whistler  possessed  to  such  a  degree 
that  it  dominates  his  complete  accomplishment.  Wher- 
ever we  see  one  of  his  pictures  we  recognize  it  and 
feel  that  it  is  the  true  stamp  of  his  individuality.  In 
his  portraits  he  not  only  refrains  from  flattering  his 
sitters, — that  is  the  crudest  possible  statement  of  it, — 
he  refrains  from  giving  them  an  undue  relative  im- 
portance. His  exacting  research  into  the  separate 
individualities  leaves  him  curiously  free  to  obey  the 
intuition  by  which  he  knows  how  much  to  insist  upon 
the  value  of  those  individualities.  Apparently  the 
Comedie  Humaine  was  continually  in  his  mind  as  a 
woven  tapestry  might  hang  in  a  studio  against  which 
to  try  the  tone  and  colour  of  the  figure  to  be  repro- 
duced. His  Carlyle,  under  this  appraising  observa- 
tion, as  we  already  have  noted,  is  not  the  great  man 
of  the  world,  but  one  of  the  world's  great  men  and  not 
the  greatest  of  them.  In  his  Master  Smith  of  Lyme 
Regis,  to  take  another  conspicuous  example  of  his 
typical  treatment  of  a  subject,  he  has  introduced  the 
elements  of  ruggedness  and  physical  force  and  plain 
thinking  in  sufficient  proportion  to  indicate  the  man's 
class  and  type,  but  he  has  made  no  outcry  over  his 
possession  of  these  qualities.  "There  are  others,"  he 
seems  to  reflect  as  he  develops  the  simple  physiogomy 


142         THE  WORKS  OF  WHISTLER 

and  the  result  is  that  the  blacksmith  is  not  heroically 
and  exclusively  a  blacksmith,  but  one  of  the  many  en- 
dowed with  emotions  and  ideas  including  those  appro- 
priate to  his  trade,  but  not  limited  to  them.  In  litera- 
ture we  all  know  the  tendency  toward  embodying  a 
single  characteristic  in  a  given  personage  and  sup- 
pressing everything  else  to  give  relief  to  this;  but  in 
art  the  tendency  has  not  so  often  been  analysed  and  the 
eye,  moreover,  is  cheated  into  ignoring  it  by  aesthetic 
appeals  of  colour  and  form ;  it  nevertheless  exists  to  a 
wide  extent.  It  is  necessary  to  see  Whistler's  pictures 
in  a  gallery  with  the  work  of  other  painters  to  under- 
stand his  extraordinary  ability,  not  merely  to  make  his 
subjects  complex,  but  to  make  them  a  part  of  a  still 
more  complex  world.  This  is  the  imaginative  ration- 
ale upon  which  he  constructs  his  presentations  of 
people. 

In  his  portraits  of  external  nature  there  is  the  same 
imaginative  feeling  for  the  vast  back-ground  and  the 
small  part  played  by  any  single  scene  in  the  continuous 
and  overwhelming  panorama.  His  streets  belong  to 
the  town,  his  waves  to  the  ocean,  his  rivers  and  their 
banks  to  the  wide  horizons  on  which  they  vanish,  his 
doming  skies  to  the  envelope  of  air  and  mists  that 
wraps  about  the  whirling  earth.  The  universe  rolls 
away  on  every  side  from  the  fragment  of  his  choice, 
and  those  for  whom  the  universal  has  a  supreme 
importance  are  conscious  that  under  no  pressure  of 
momentary  interest  is  he  guilty  of  shutting  out  the 
view.  The  immediate  view  is  never  the  main  purpose 


•ft  * 


ui. 


"SHOP"— ALGIERS. 

(Pen  and  Ink.) 
Reproduced  by  kind  permission  of  R.  A.  Canfield,  Esq. 


ON  WHISTLER'S  THEORY  OF  ART     143 

of  his  picture.  However  he  may  concentrate  atten- 
tion upon  a  single  point  of  interest,  there  is  always 
the  gradual  recession  of  an  infinitely  extended  en- 
vironment. And  his  unobtrusiveness  seems  to  be  less 
that  of  modesty  than  of  wisdom.  It  is  the  quality  of 
civilisation ;  the  lesson  of  cities,  of  wide  experience,  of 
the  travelled  mind.  He  is  uncompanioned  in  the  way 
he  suggests  through  his  single  figures  or  tiny  can- 
vases the  "remplissage"  of  life.  It  is,  of  course,  the 
perfection  of  the  initiated  temper  to  treat  the  simplest 
theme  with  rich  reserve ;  to  make  it  so  natural  as  to  be 
a  tissue  of  complication  precisely  as  in  real  life  it 
would  be,  and  there  is  nothing  so  simple  that  Whistler 
does  not  find  in  it  cross-references  and  inter-relations, 
yet  there  is  nothing,  not  even  the  carnival  of  London, 
so  complex  that  he  does  not  simplify  it  by  the  exacting 
eliminations  of  his  art.  What  is  this  but  the  mood  of 
modern  civilization?  It  is  a  mood  that  in  Whistler's 
painting  does  not  appeal  to  the  many,  the  austere 
method  of  its  expression  being  against  a  popular  ap- 
peal, yet  it  is  the  mood  that  most  reveals  the  attitude 
of  the  modern  mind  toward  the  populous  scene.  It  is 
far  removed  from  the  old,  simple  awe  in  the  presence 
of  natural  forces ;  it  is  not  of  the  nature  even  of  rever- 
ence, but  it  marks  intense  appreciation  of  the  scale  on 
which  the  universe  is  constructed,  and  it  testifies  to 
the  sense  of  proportion  at  the  root  of  all  greatness. 
We  cannot  then  think  of  its  possessor  as  moving  in  a 
narrow  round,  nor  could  we  if  his  work  contained  but 
one  of  the  numerous  fields  of  observation  in  which 


144          THE  WORKS  OF  WHISTLER 

Whistler  was  at  home.  Had  he  been  only  the  painter 
of  night,  as  most  commonly  he  is  called,  his  revelation 
of  its  dim  secrets  would  have  entitled  him  to  our  ac- 
knowledgment of  his  penetrating  and  soaring  imag- 
ination. Had  he  been  only  a  portrait  painter  his 
descriptions  of  human  characters  would  have  made  it 
impossible  to  speak  of  him  as  restricted.  Had  he 
traversed  his  career  with  no  other  tool  of  trade  than 
his  etching  needle,  we  should  have  been  obliged  to 
recognize  the  amplitude  of  his  mental  equipment.  In 
reviewing  the  fruitful  outcome  of  all  his  labours,  we 
must  decide  that  more  than  any  other  modern  painter 
he  is  the  classic  exponent  of  the  modern  spirit.  He 
has  left  innumerable  sides  of  our  energies  and  activi- 
ties to  be  noted  by  others.  He  has  not  attempted  to 
exhaust  the  sources  of  our  multitudinous  variety.  He 
has  taken  what  pleased  him  and  left  the  rest,  immense 
in  bulk  and  importance.  He  cannot,  therefore,  be 
said  to  represent  us  in  all  our  phases  and  combinations, 
or  even  in  many  of  them,  yet  precisely  as  one  of  his 
portraits  expresses  the  concentrated  inner  character 
of  his  subject ;  his  work  as  a  whole  portrays  the  inmost 
tendency  of  modern  civilisation,  the  tendency  toward 
relative  judgments. 

This  not  only  is  the  theory  of  his  art  to  be  deduced 
from  his  work,  but  the  sane  deduction  to  be  made 
from  his  own  words.  His  exaltation  of  the  casual 
note  is  altogether  in  the  line  of  his  initiated  vision ;  his 
imperturbable  defence  of  the  painter's  limitation  to 
the  technical  aspect  of  his  problems  is  so  much  evi- 


1 
g 


o 

UJ 

H 


ON  WHISTLER'S  THEORY  OF  ART     145 

dence  of  his  knowledge  of  the  supreme  importance  of 
form  as  the  vehicle  of  spirit,  an  importance  that  we 
remember  and  forget  as  often  as  great  art  passes  into 
and  out  of  the  range  of  vision ;  his  recognition  of  art 
as  only  one  language  of  those  that  make  thought 
knowable  is  most  of  all  the  stamp  of  his  discriminating 
faculty.  Let  us  recall  his  sturdiest  affirmation:  "So 
art,"  he  says,  "has  become  foolishly  confounded  with 
education,  that  all  should  be  equally  qualified. 

"Whereas,  while  polish,  refinement,  culture  and 
breeding  are  no  way  arguments  for  artistic  result,  it 
is  also  no  reproach  to  the  most  finished  scholar  or 
greatest  gentleman  in  the  land  that  he  be  absolutely 
without  eye  for  painting  or  ear  for  music — that  in  his 
heart  he  prefer  the  popular  print  to  the  scratch  of 
Rembrandt's  needle,  or  the  songs  of  the  hall  to 
Beethoven's  *C  minor  symphony.'  Let  him  but  have 
the  wit  to  say  so,  and  not  feel  the  admission  a  proof  of 
inferiority."  Only  an  artist  with  the  highest  regard 
for  relative  values  could  thus  see  his  art,  and  thus 
define  it  as  unnecessary  to  the  life  of  the  mind. 

One  more  impression  of  his  quality  may  be  added  to 
this  incomplete  notation,  not  for  its  special  but  for  its 
general  importance.  He  has  been  described  truth- 
fully as  the  apostle  of  good  taste,  with  a  minifying  in- 
flection suggested  in  the  phrase.  But  good  taste  no 
longer  is  a  negligible  quantity  in  any  practice  of  life. 
It  involves  an  incorruptible  sense  of  refined  beauty 
which  in  itself  is  a  kind  of  art.  It  involves  particu- 
larly a  sense  of  the  appropriate  which  is  not  the  gram- 


146          THE  WORKS  OF  WHISTLER 

mar  but  the  style  of  poetry.  It  implies  sacrifices  and 
restraints  worthy  of  a  passionate  dedication,  and  so 
far  as  passion  is  felt  in  Whistler's  art,  it  is  felt  as  the 
passion  of  decorum  known  to  the  modern  as  to  the 
ancient  in  its  highest  function.  "Dulci  et  decorum 
est"  not  only  to  die  for  one's  country,  but  to  live  for 
one's  ideal.  This  with  singleness  of  mind  he  did. 


INTRODUCTION  TO  LIST  OF 

WHISTLER'S    PICTURES 


INTRODUCTION 

TO    LIST   OF 

WHISTLER'S    PICTURES 


In  the  subjoined  list  no  claim  is  made  either  to  comprehen- 
siveness or  to  complete  accuracy.  In  spite  of  the  kindness  of 
many  owners  of  Whistler's  pictures  in  furnishing  data  con- 
cerning them,  the  reluctance  or  unresponsiveness  of  others  has 
made  it  impossible  to  carry  the  list  beyond  what  may  be  con- 
sidered merely  the  nucleus  for  a  better  one.  In  its  pres- 
ent condition,  however,  it  serves  two  purposes.  It  acquaints 
the  general  public  with  a  very  large  number  and  variety  of 
Whistler's  works  which  not  only  exist  but  have  been  seen 
by  a  considerable  proportion  of  the  art-lovers  of  America, 
France  and  England;  showing  more  convincingly  than  could 
any  bald  statement  of  the  fact  how  extended  was  his 
range.  It  also  indicates  to  students  the  sources  to  which  to 
go  for  descriptions  of  individual  pictures  in  which  their  interest 
may  be  aroused,  and  gathers  together  in  convenient  form  for 
reference  the  titles  contained  in  the  three  memorial  catalogues 
already  out  of  easy  reach,  many  of  even  the  larger  libraries 
and  museums  not  possessing  the  set.  In  the  majority  of  in- 
stances the  titles  taken  from  these  catalogues  have  been  trans- 
ferred without  change,  but  any  important  difference  in  titles 
given  in  two  or  more  of  the  catalogues  has  been  noted,  as  where 
the  "Nocturne,  Southampton  Water"  of  the  Boston  catalogue 
becomes  the  "Nocturne  Black  and  Gold,  Entrance  to  South- 
ampton Water"  of  the  London  catalogue.  In  a  few  cases  a 
wrongly  named  picture  has  been  given  its  correct  title  as  where 
the  "Nocturne,  Blue  and  Gold,"  belonging  to  the  Hon.  Percy 


150         THE  WORKS  OF  WHISTLER 

Wyndham  was  given  in  the  London  catalogue  as  "Nocturne, 
Blue  and  Silver,"  the  owner  having  kindly  informed  the 
compiler  of  the  error.  Where  fragments  of  information  not 
appearing  in  the  catalogues  have  been  offered  by  owners,  they 
have  been  included,  and  a  few  descriptions  of  pictures  listed 
only  in  the  Boston  catalogue,  and  there  undescribed,  have  been 
added.  The  names  of  the  present  owners  are  not  given.  The 
names  of  those  who  lent  the  pictures  to  the  various  exhibitions  , 
are  taken  directly  from  the  catalogues ;  but  in  many  cases  the 
pictures  have  since  changed  hands.  Where  the  dimensions 
of  the  pictures  are  given  only  in  the  French  catalogue,  the 
French  system  of  numbering  has  been  retained,  and  for  the 
sake  of  simplification  in  reference  the  French  abbreviations 
H.  and  L.  have  been  used  in  quoting  from  the  Paris  catalogue 
and  the  English  abbreviations  H.  and  B.  in  quoting  from  the 
London  and  American  catalogues.  A  brief  list  of  titles 
gathered  from  recent  books  on  Whistler  and  not  in- 
cluded in  the  Memorial  Exhibitions,  has  also  been  added,  with 
a  number  of  items  from  catalogues  of  exhibitions  held  before 
the  artist's  death.  These  catalogues  ought  still  to  furnish  a 
rich  field  for  investigation  as  many  of  them  have  not  been  at 
the  disposal  of  the  present  compiler.  There  are  a  few  titles 
of  pictures,  not  in  the  catalogues,  which  have  been  fur- 
nished by  the  owners.  The  total  presents  an  appearance  which 
could  not  be  satisfactory  to  the  professional  cataloguer.  Its 
excuse  lies  in  the  fact  that  it  makes  a  beginning  from  which 
a  creditable  ending  may  be  brought  about.  It  is  to  be  expected 
that  a  full  list  of  Whistler's  works  will  one  day  appear  from 
authoritative  sources.  Until  that  time  it  is  hoped  that  the 
present  imperfect  list  will  be  found  of  convenience,  and  any 
owners  who  will  be  good  enough  to  supply  corrections,  or 
information  concerning  pictures  not  included,  will  confer  a 
favour  upon  the  compiler  and  the  publishers.  The  difficulty 
of  distinguishing  between  works  of  the  same  or  nearly  the 


LIST  OF  PAINTINGS  151 

same  title  and  executed  in  the  same  medium,  is  great,  and 
nothing  is  more  to  be  desired  than  exact  measurements  taken 
of  the  canvas  or  paper  without  the  frame.  "Sight  measure- 
ments" or  measurements  taken  inside  of  the  frame  are  very 
misleading.  The  contribution  of  exact  measurements  where 
they  are  lacking  will  be  of  especial  value.  There  is  reason  to 
believe  that  the  measurements  given  in  the  catalogues  are  not 
always  exact.  In  the  case  of  The  Little  Blue  Bonnet,  for  ex- 
ample, the  measurements  given  in  the  edition  de  luxe  of  the 
London  catalogue  are  23x18,  and  it  is  not  stated  whether  this 
is  a  sight  measurement  or  a  measurement  without  the  frame. 
When  Mr.  Macbeth  bought  the  picture  he  measured  it  both 
inside  and  without  the  frame,  finding  it  in  the  former  case 
22V2xl7,  and  the  latter  25V3xl8#, 


AN  INCOMPLETE  LIST  OF 

WHISTLER'S  PAINTINGS 

IN  OIL  AND  IN  WATER  COLOUR,  PASTELS.  AND  DRAWINGS 


AN  INCOMPLETE  LIST 

OP 

WHISTLER'S  PAINTINGS 

IN  OIL  AND   IN  WATER  COLOUR, 
PASTELS,  AND  DRAWINGS 

Compiled  from  the  Catalogue  of  the  Memorial  Exhibition  at  Copley  Hall, 
Boston  (February,  1904),  the  Catalogue  of  the  Memorial  Exhibition 
at  the  New  Gallery,  London  (from  February  22,  to  April  15,  1905) 
and  the  Catalogue  of  the  Memorial  Exhibition  at  Paris  (May,  1905). 
(It  is  stated  in  the  Paris  Catalogue  that  where  no  names  are  given 
the  pictures  were  lent  by  Whistler's  heirs.) 

(1).  "Gold  and  Brown 

Portrait  of    Mr.    James    McNeill    Whistler"    (Oil). 
Boston  Catalogue:    Page  3,  No.  1. 
Paris  Catalogue:    Page  30,  No.  29. 

(H.  0,470— L.  0,650) 
Lent  by  George  W.  Vanderbilt,  Esq. 

(2).  The  Fete  on  the  Sands — Ostend 

Boston  Catalogue:    Page  3,  No.  2. 
Lent  by  Miss  Ellen  S.  Hooper. 

(3.)  "Chelsea  Shops" 

Boston  Catalogue:    Page  3,  No.  3. 
Lent  by  Charles  L.  Freer,  Esq. 

(4).  The  Grey  House 

Boston  Catalogue:    Page  3,  No.  4. 
Lent  by  Charles  L.  Freer,  Esq. 


156         THE  WORKS  OF  WHISTLER 

(5).  "Green  and  Gold— 

The  Great  Sea." 

Boston  Catalogue:    Page  3,  No.  5. 

Paris  Catalogue:    Page  59,  No.  103. 

(H.  0,130— L.  0,223,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(6).  "The  Butcher  Shop" 

Boston  Catalogue:    Page  3,  No.  6. 
Lent  by  Charles  L.  Freer,  Esq. 

(7).  On  the  Normandy  Coast 

Boston  Catalogue:    Page  3,  No.  7. 
Lent  by  Henry  Harper  Benedict,  Esq. 

(8).  Sketch  of  a  Girl* 

Boston  Catalogue:    Page  3,  No.  8. 
Lent  by  E.  B.  Haskell,  Esq. 

(9).  Grey  and  Silver 

Trouville.f 

Boston  Catalogue:   Page  3,  No.  9. 
Lent  by  W.  K.  Bixby,  Esq. 

(10).  Chelsea  Houses 

Boston  Catalogue:    Page  4,  No.  10. 
Lent  by  J.  M.  Sears,  Esq. 

(11).  "A  Note  in  Red" 

Boston  Catalogue:    Page  4,  No.  11. 
Lent  by  Charles  L.  Freer,  Esq. 


(*  Mr.  E.  B.  Haskell,  the  owner  of  this  picture,  writes  that  it  was  painted  in  Ven- 
ice in  1882,  and  given  by  the  artist  to  his  friend  William  Graham,  a  landscape- 
painter  of  merit,  living  in  Venice  at  the  time.) 

(t  Mr.  W.  K.  Bixby,  the  owner  of  this  picture,  writes  that  it  was  painted  in  1901.) 


LIST  OF  PAINTINGS  157 

(12).  Marine — Grey  and  Green 

Boston  Catalogue-'    Page  4,  No.  12. 

Paris  Catalogue:     Page  44,  No.  63. 

(H.  0,510— L.  0,750) 
Lent  by  Mrs.  Potter  Palmer. 

(13).  Study  of  the  Sea  from  a  Boat 

Boston  Catalogue:    Page  4,  No.  13. 
Lent  by  Mrs.  Martin  Brimmer. 

(14).  "Petite  Mephiste" 

Boston  Catalogue:    Page  4,  No.  14. 

Paris  Catalogue:    Page  37,  No.  52.    (Title  in  French 

Catalogue:    "Petite  Mephisto.") 

(H.  0,240— L.  0,197,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(15).  "Harmony  in  Green  and   Rose: 

The  Music  Room"  (Oil). 
Boston  Catalogue:    Page  4,  No.  15. 
Paris  Catalogue:    Page  20,  No.  7. 

(H.  0,940— L.  0,710,  inside  the  frame) 
Lent  by  Col.  Frank  J.  Hecker. 

(16).  Seascape 

Boston  Catalogue:    Page  4,  No.  16. 
Lent  by  J.  M.  Sears,  Esq. 

(17).  Girl  in  Black   (Oil) 

Boston  Catalogue:   Page  4,  No.  17. 

Lent  by  Mrs.  John  C.  Bancroft. 

(18.)  "An  Arrangement  in  Flesh  Color  and  Brown" 

Boston  Catalogue:    Page  4,  No.  18. 
(Name  not  given.) 


158         THE  WORKS  OF  WHISTLER 

(19).  "The  White  Symphony" 

Boston  Catalogue:    Page  4,  No.  19. 
Paris  Catalogue:    Page  22,  No.  11. 

(H.  0,450— L.  0,600,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 

The  title  in  the  French  Catalogue  is  under  the  di- 
vision with  the  general  title :  Les  Six  Projects — "The 
Six  Schemes,"  and  reads  as  follows : 

"No  1.  Symphonic  en  blanc.  Les  trois  jeune  filles 
— (The  White  Symphony,  Three  Girls.)"  The  follow- 
ing five  titles  are  also  under  the  same  general  title, 
and  in  the  French  Catalogue  are  numbered,  as  in- 
dicated by  the  figures  in  brackets  preceding  the 
titles. 

(20).  [No.  4].  "Symphony  in  White  and  Red" 

Boston  Catalogue:    Page  5,  No.  20. 
Paris  Catalogue:  Page  23,  No.  14. 

(H.  0,450— L.  0,600,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(21).  [No.  2].  "Venus" 

Boston  Catalogue:    Page  5,  No.  21. 

Paris  Catalogue:  Page  23,  No.  12. 

(H.  0,600 — L.  0,450,  inside  the  frame)' 
Lent  by  Charles  L.  Freer,  Esq. 

(22).   [No.  3].  "Symphony  in  Green  and  Violet" 

Boston  Catalogue:    Page  5,  No.  22. 

Paris  Catalogue:  Page  23,  No.  13. 

(H.  0,610— L.  0,450,  inside  the  frame)1 
Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  159 

(23).  [No.  6],  "Symphony  in  Blue  and  Pink" 

Boston  Catalogue:    Page  5,  No.  23. 

Paris  Catalogue:  Page  24,  No.  16. 

(H.  0,450— L.  0,600,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(24).  [No.  5].  "Variations  in  Blue  and  Green" 

Boston  Catalogue:    Page  5,  No.  24. 
Paris  Catalogue:    Page  24,  No.  15. 

(H.  0,450 — L.  0,600,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(25).  Arrangement  in  Black  and  Brown 
"Miss  Rosa  Corder"  (Oil). 
Boston  Catalogue:    Page  5,  No.  25. 
Paris  Catalogue:    Page  27,  No.  21. 

Lent  by  R.  A.  Canfield,  Esq.  (H-  x  m-  93~ L'    °-  m-  93) 

(26).  "The  Little  Blue  and  Gold  Girl"   (Oil) 

Boston  Catalogue:    Page  5,  No.  26. 

Paris  Catalogue-'  Page  36,  No.  48. 
Lent  by  Charles  L.  Freer,  Esq.  (H-  0,720-L.  0,485) 

(27).  "Grey  and  Silver 

La  Petite  Souris."    The  Little  Mouse. 

Boston  Catalogue:    Page  5,  No.  27. 

Paris  Catalogue:    Page  34,  No.  41. 
Lent  by  Miss  R.  Birnie-Philip.  (H-  0,510— L.  0,310) 

(28).  Symphony  in  White  [In  the  French  Catalogue  it  is 
"Symphony  in  White,  No.  2"] 
"The  Little  White  Girl." 
Boston  Catalogue:    Page  5,  No.  28. 
Paris  Catalogue:    Page  19,  No.  5. 

Lent  by  Arthur  Studd,  Esq.  <H'  °'76°-L- 


160         THE  WORKS  OF  WHISTLER 

(29).  Une  Jeune  Fille  des  Rues 

Boston  Catalogue:    Page  5,  No.  29. 
Lent  by  Mrs.  Frank  Gair  Macomber. 

(30).  "Symphony  in  Violet  and  Blue"    (Oil.) 
Boston  Catalogue:    Page  6,  No.  30. 

Lent  by  Alf red  Attmore  Pope,  Esq. 

(31).  "The  Thames  in  Ice" 

Boston  Catalogue:   Page  6,  No.  31. 

Paris  Catalogue:  Page  41,  No.  57. 

(H.  0,750— L.  0,540,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(32).  "Rose  and  Silver 

La    Princesse    du    Pays    de  La  Porcelaine."     (Oil.) 

Signed  "Whistler,  1864." 
Boston  Catalogue:    Page  6,  No.  32. 
Paris  Catalogue:    Page  21,  No.  9. 

Lent  by  Charles  L.  Freer,  Esq.  (H-  1'98~ L-  U5) 

(33).  Violet  and  Silver 

"Deep  Sea"*  (Oil). 

Boston  Catalogue:    Page  6,  No.  33. 
Lent  by  John  A.  Lynch,  Esq. 

(34).  "Westminster  Bridge"  (Oil).  Signed  "Whistler, 
1862,"  in  the  left  lower  corner.  In  the  London 
Catalogue  the  title  is  "The  Last  of  Old  West- 
minster," in  the  Paris  Catalogue,  "Old  West- 
minster." 

Boston  Catalogue:    Page  6,  No.  34. 

Paris  Catalogue:    Page  41,  No.  56. 

London  Catalogue:    Page  88,  No.  35. 

Lent  by  AlfredAttmorePope,  Esq.  (H-  22l/2~ B.  30) 


•Exhibited  in  the  Salon  of  the  Champs  de  Mars,  1894.    Bought  from  the  painter 
In  October  of  that  year  by  John  A.  Lynch,  of  Chicago. 


Arrangement  in  Black  and  Gold. 

"  LE  COMTE  ROBERT  DE  MONTESQUIOU- 

FEZENSAC." 

By  kind  permission  of  R.  A.  Canfield,  Esq. 


LIST  OF  PAINTINGS  161 

(35).  "Portrait  de  Madame  S 

Vert  et  Violet." 

Boston  Catalogue:    Page  6,  No.  35. 

Paris  Catalogue:    Page  29,  No.  26. 

Lent  by  Mrs.  Cobden  Sickert.  (H-  °>86°— L-  0,610) 

(36).  The  Master  Smith  of  Lyme-Regis  (Oil) 

Boston  Catalogue:    Page  6,  No.  36. 

Paris  Catalogue:     Page  30,  No.  27. 

London  Catalogue:  Page  84,  No.  24. 

(H.  19%— B.  11%) 
Lent  by  the  Museum  of  Fine  Arts,  Boston. 

(37).  "Variations  in  Flesh  Color  and  Green 

The  Balcony"  (Oil). 

Boston  Catalogue:    Page  6,  No.  37. 

Paris  Catalogue:  Page  22,  No.  10. 

(H.  0,590— L,  0,470,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(38).  "Carmen"  (Oil) 

Bold,  masculine  type  of  head  against  a  wine-col- 
oured background,  red  shawl  over  the  head,  very  thinly 
painted  on  coarse  canvas. 
Boston  Catalogue:    Page  6,  No.  38. 

Lent  by  Alfred  Atmore  Pope,  Esq. 

(39).  Arrangement  in  Black  and  Gold 

"Le  Comte  Robert  de  Montesquiou-Fezensac"  (Oil). 
Full  length  figure  dressed  in  black  against  dark 
background.  The  floor  is  yellowish-brown,  the  Count 
holds  a  slender,  yellowish-brown  cane  in  his  right  hand 
and  carries  a  cloak  lined  with  silvery  grey  over  his  left 
arm ;  he  wears  a  grey  glove  on  his  right  hand. 
Boston  Catalogue:  Page  7,  No.  39. 

Lent  by  R.  A.  Canfield,  Esq. 


162         THE  WORKS  OF  WHISTLER 

(40).  "GrenatetOr 

Le  Petit  Cardinal." 

Boston  Catalogue:    Page  7,  No.  40. 

Lent  by  Miss  R.  Birnie-Philip. 

(41).  "The  Little  Red  Glove"  '  (Oil) 

Boston  Catalogue:    Page  7,  No.  41. 
Paris  Catalogue:    Page  33,  No.  39. 

(H.  0,500 — L.  0,305,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 

(42).  Coast  of  Brittany"  (Oil) 

Boston  Catalogue:     Page  7,  No.  42. 

London  Catalogue:    Page  79,  No.  11. 

(H.  36— B.  46) 
Lent  by  Ross  Winans,  Esq. 

(43).  The  Little  Rose  of  Lyme-Regis    (Oil) 

Boston  Catalogue:    Page  7,  No.  43. 

Paris  Catalogue:    Page  34,  No.  42. 

London  Catalogue-'    Page  85,  No.  26. 

(H.  19^4— B.  12) 
Lent  by  the  Boston  Museum  of  Fine  Arts. 

(44).  Rose  and  Gold:  "Pretty  Nellie  Brown"  *  (Oil) 

A  half-length  portrait  of  a  young  girl.     She  wears 
a  deep  rose-coloured  jacket  over  a  pale  pink  blouse. 
Hair  blonde-brown,  wine  coloured  background. 
Boston  Catalogue:    Page  7,  No.  44. 

(H.  193,4— B.  12) 
Lent  by  Frank  Lusk  Babbott,  Esq. 


(*  Mr.  Prank  L.  Babbott  says  that  this  picture  was  painted  on  up  to  1900,  the  year 
in  which  he  bought  it.) 


LIST  OF  PAINTINGS  163 

(45).  Portrait  of  a  Lady  (Oil) 

Full-length   figure   of   lady   in   black   riding  habit 

against  black  background. 

Boston  Catalogue:    Page  7,  No.  45. 
Lent  by  Alexander  J.  Cassatt,  Esq. 

(46)  L'Andalusienne    (Oil) 

Boston  Catalogue:    Page  7,  No.  46. 

Paris  Catalogue:    Page  29,  No.  25. 

(H.  1  m.  87— L.    o.  m.  88) 
Lent  by  John  H.  Whittemore,  Esq. 

(47).  "Harmony  in  Red 

Lamplight."     In  Paris  Catalogue  is  added:     Portrait 

of  Mrs.  J.  McNeill  Whistler. 
Boston  Catalogue:    Page  7,  No.  47. 
Paris  Catalogue:    Page  28,  No.  23. 

(H.  1  m.  88— L.   o.  m.  89) 
Lent  by  Miss  R.  Birnie-Philip. 

(48).  A  Chelsea  Girl    (Oil) 

Full  length  figure  of  young  girl  in  short  skirts.    She 

wears  a  black  dress,  a  white  apron  (very  low  in  tone) 

and  a  yellow  scarf  at  the  neck.     Stands  with  arms 

akimbo. 

Boston  Catalogue:    Page  7,  No.  48. 
Lent  by  Alexander  J.  Cassatt,  Esq. 

(49).  Interior 

Boston  Catalogue:    Page  8,  No.  49. 
Lent  by  Miss  Fanny  Hooper. 

(50).  Unfinished  Portrait 

Boston  Catalogue:    Page  8,  No.  50. 
Lent  by  Miss  Ellen  S.  Hooper. 


164         THE  WORKS  OF  WHISTLER 

(51).  "Blue  and  Silver— 
Trouville." 

Boston  Catalogue:    Page  8,  No.  51. 
Paris  Catalogue:    Page  43,  No.  60. 

(H.  0,590— L.  0,720,  inside  th«  frame) 

Lent  by  Charles  L.  Freer,  Esq. 

(52).  Study  of  a  Head 

Boston  Catalogue:    Page  8,  No.  £3. 

Lent  by  Francis  Bartlett,  Esq. 

(53).  Portrait  of  Pablo  Sarasate 

Arrangement  in  Black  (Oil). 

Boston  Catalogue:    Page  8,  No.  53. 

Paris  Catalogue:    Page  27,  No.  20. 

London  Catalogue:    Page  82,  No.  19. 

(H.  84— B.  40)' 
Lent  by  the  Carnegie  Institute  of  Pittsburgh. 

(54).  Blue  and  Silver,  The  Blue  Wave,  Biarritz   (Oil) 

Signed  "Whistler,  1862,"  in  the  lower  left  corner. 
Boston  Catalogue:    Page  8,  No.  54. 
Paris  Catalogue:    Page  41,  No.  55. 
London  Catalogue:   Page  86,  No.  29. 

(H.  241/2— B.  34)1 
Lent  by  Alfred  Attmore  Pope,  Esq. 

(55).  Whistler  With  a  Hat  (Oil)'.    Signed  "Whistler"  in  the 

lower  left  corner. 

Boston  Catalogue:    Page  8,  No.  55. 
Paris  Catalogue:    Page  17,  No.  1. 

(H.  0,490— L.  0,390) 
Lent  by  Samuel  P.  Avery,  Esq. 


LIST  OF  PAINTINGS  165 

(56).  Nocturne  in  Blue  and  Silver:  "Cremorne  Lights"  (Oil) 

Boston  Catalogue:    Page  8,  No.  56. 

Paris  Catalogue:    Page  46,  No.  69. 

(H.  0,500— L.  0,740) 
Lent  by  Arthur  Studd,  Esq. 

(57).  "Variations  in  Pink  and  Grey 

Chelsea." 

Boston  Catalogue:    Page  8,  No.  57. 
Lent  by  Charles  L.  Freer,  Esq. 

(58).  Nocturne,  Southampton  Water  r  (Oil) 
Boston  Catalogue:    Page  9,  No.  58. 
Paris  Catalogue:    Page  45,  No.  67. 
London  Catalogue:    Page  78,  No.  9.     (Title  in  Lon- 
don Catalogue,  "Nocturne,  Black  and  Gold,  En- 
trance to  Southampton  Water.") 

(H.  19— B.  29) 
Lent  by  the  Art  Institute  of  Chicago. 

(59).  Nocturne— "Westminster"  (Oil) 

The  sky  and  water  are  pale  turquoise  blue.    A  grey 
shadow   covers   the   land   and   the   buildings.      Two 
squares  of  pale  yellow  light  are  seen  in  the  tower,  and 
a  light  reflection  is  in  the  water  at  the  right 
Boston  Catalogue:    Page  9,  No.  59. 

Lent  by  John  G.  Johnson,  Esq. 

(60.)  Nocturne 
Battersea. 

Boston  Catalogue:    Page  9,  No.  60. 
Paris  Catalogue:    Page  47,  No.  71. 

(H.  O.  m.  495— L.  1  m.  065) 

Lent  by  George  W.  Vanderbilt,  Esq. 


166         THE  WORKS  OF  WHISTLER 

(61).  "Nocturne— Grey  and  Silver — 

Chelsea  Embankment." 

Boston  Catalogue:    Page  9,  No.  61. 

Paris  Catalogue:    Page  48,  No.  73. 

(H.  0,610— L.  0,450) 
Lent  by  Charles  L.  Freer,  Esq. 

(62).  Arrangement  in  Black  and  Brown 

The  Fur  Jacket  (Oil). 

Boston  Catalogue:    Page  9,  No.  62. 

London  Catalogue:    Page  80,  No.  14. 

(H.  73— B.  34>4) 
Lent  by  William  Burrell,  Esq. 

(63).  "Nocturne — Blue  and  Silver — 

Battersea  Reach." 

Boston  Catalogue:    Page  9,  No.  63. 

Paris  Catalogue:    Page  47,  No.  70. 

(H.  0,490— L.  0,755,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(64).  Nocturne  in  Black  and  Gold 

'The  Falling  Rocket." 

Boston  Catalogue:    Page  9,  No.  64. 

Paris  Catalogue:    Page  45,  No.  66. 
Lent  by  Mrs.  Samuel  Untermyer. 

(65).  "Nocturne — Blue  and  Silver— 

Bognor."  * 

Boston  Catalogue:    Page  9,  No.  65. 
Paris  Catalogue:    Page  46,  No.  68. 

(H.  0,500— L.  0,840,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  .167 

(66).  Nocturne  in  Black  and  Gold 

"The  Fire  Wheel." 

Boston  Catalogue:    Page  9,  No.  66. 

Paris  Catalogue:    Page  45,  No.  65. 

(H.  0,530— L.  0,?50y 
Lent  by  Arthur  Studd, 


(67).  Nocturne  in  Blue  and  Silver  s 
"The  Lagoon"— Venice. 
Boston  Catalogue:    Page  10,  No.  67. 

Lent  by  R.  A.  Canfield,  Esq. 


'(68).  "Nocturne — Opal  and  Silver" 

Boston  Catalogue:    Page  10,  No.  68. 
Paris  Catalogue:    Page  49,  No.  75. 

(H.  0,190— L.  0,250,  inside  the  frame)' 

Lent  by  Charles  L.  Freer,  Esq. 

(69).  "The  Sea" 

Boston  Catalogue:    Page  10,  No.  69. 

Paris  Catalogue:    Page  43,  No.  61. 

(H.  0,520— L.  0,950) 
Lent  by  John  H.  Whittemore,  Esq. 

(70).  The  Thames  (In  Paris  Catalogue  "On  the  Thames") 
Boston  Catalogue:    Page  10,  No.  70. 
Paris  Catalogue:    Page  42,  No.  58. 

(H.  0,500— L.  0,800) 
Signed  "Whistler,  '63,"  in  the  lower  left  corner. 

Lent  by  Mrs.  Potter  Palmer. 


168         THE  WORKS  OF  WHISTLER 

(71).  Symphony  in  White,  No.  1 
"White  Girl"  (Oil). 

Signed  "Whistler,  1862,"  in  the  upper  right  corner. 
Boston  Catalogue:    Page  10,  No.  71. 
Paris  Catalogue:    Page  18,  No.  4. 
London  Catalogue:    Page  89,  No.  37. 

(H.  84— B.  42) 

(Title  in  Lon'don   Catalogue   is  "The   Woman   in 
White,  Symphony  in  White,  No.  1.") 
Lent  by  John  H.  Whittemore,  Esq. 

(72).  A  Street  in  Old  Chelsea 

Boston  Catalogue:    Page  10,  No.  72. 
Lent  by  Denman  W.  Ross.  Esq. 

(73).  Symphony  in  Grey  and  Green 

"The  Ocean." 

Boston  Catalogue:    Page  10,  No.  74. 

Paris  Catalogue:    Page  43,  No.  62. 

(H.  0,800— L.  0,910) 
Lent  by  R.  A.  Canfield,  Esq. 

(74).  The  Schooner 

Boston  Catalogue:    Page  11,  No.  77. 
Lent  by  Miss  A.  B.  Jennings. 

(75).  Grey  and  Gold 

"The  Golden  Bay,"  Ireland    (Water-Colour). 
Boston  Catalogue:    Page  11,  No.  78. 

Butterfly  to  the  left  near  the  lower  edge  of  the  frame. 
Lent  by  R.  A.  Canfield,  Esq. 

(76).  "Rose  and  Brown- 
La  Cigale." 
Boston  Catalogue:   Page  11,  No.  79. 

Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  1169 

(77).  Portrait  of  Man  (Oil) 

Boston  Catalogue:    Page  11,  No.  80. 
London  Catalogue:    Page  107,  No.  83. 

(H.  11%— B.  6) 

(In  the  London  Catalogue  it  is  "Portrait  of  E.  G. 
Kennedy,  Esq.") 
Lent  by  E.  G.  Kennedy,  Esq. 

(78).  "Wortley— 

Note  in  Green." 

Boston  Catalogue:    Page  11,  No.  81. 
Lent  by  Charles  L.  Freer,  Esq. 

(79).  "The  Sea  and  Sand" 

Boston  Catalogue:    Page  11,  No.  83. 
Lent  by  Charles  L.  Freer,  Esq. 

(80).  "Rose  and  Gold— 

The  Little  Lady  Sophie  of  Soho"  (Oil)'. 

Boston  Catalogue:    Page  11,  No.  83. 

Paris  Catalogue:    Page  32,  No.  37. 

(H.  0,630— L.  0,520,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(81).  "La  Note  Rouge" 

Boston  Catalogue:   Page  11,  No.  84. 
Lent  by  Hon.  G.  A.  Drummond. 

'(82).  Blue  and  Silver 

Dieppe. 

Boston  Catalogue:    Page  12,  No.  85. 
Lent  by  Miss  Amy  Lowell. 


170         THE  WORKS  OF  WHISTLER 

(83).  "The  Thames  near  Erith" 

Boston  Catalogue:    Page  12,  No.  86. 
Lent  by  Charles  L.  Freer,  Esq. 

(84).  Green  and  Silver  (Water-Colour) 

The  Photographer. 

A  stretch  of  sea  and  sky  with  waves  breaking  on 

a  beach  where  several  figures  are  standing,  one  of 

them,  the  photographer,  busy  with  his  instrument. 

Boston  Catalogue:    Page  12,  No.  87. 
Lent  by  Howard  Mansfield,  Esq. 

(85).  Marine 

Boston  Catalogue:    Page  12,  No.  88. 
Lent  by  Miss  Mary  Hooper. 

(86).  Blue  and  Silver  (Water-Colour) 
Forget  Me  Not. 

A  nude  figure  with  a  purple  cap ;  at  the  left,  a  slen- 
der plant. 
Boston  Catalogue:    Page  12,  No.  89. 

Lent  by  Howard  Mansfield,  Esq. 

(87).  "Green  and  Silver 

Beaulieu." 

Boston  Catalogue:    Page  12,  No.  90. 
Lent  by  Charles  L.  Freer,  Esq. 

(88).  Opal  and  Gold  (Water-Colour) 

"Evening — Pourville." 

Sea  and  sky  with  small  boat  at  the  left — purplish 

horizon.  Butterfly  at  right  of  centre  near  lower  margin. 

Boston  Catalogue:    Page  12,  No.  91. 
Lent  by  R.  A.  Canfield,  Esq. 


LIST  OF  PAINTINGS  171 

'(89).  Green  and  Blue 

The  Fields — Loches   (Water-Colour — body-colour  on 
linen) . 

Green  fields  separated  from  the  background  of  low 
hills  by  a  little  fence.  Slim  trees  to  the  left.  A  group 
of  animals  near  the  fence.  A  greenish  blue  sky  fading 
almost  to  white  at  the  horizon  line.  Butterfly  in  red- 
dish-brown. 
Boston  Catalogue:  Page  12,  No.  92. 

Lent  by  Howard  Mansfield,  Esq. 

r(90).  "Venetian  Courtyard"  (Pastel) 

Boston  Catalogue:    Page  12,  No.  93. 
Paris  Catalogue:    Page  78,  No.  163. 

(H.  0,270— L.  0,190,  inside  the  frame) 

tent  by  Charles  L.  Freer,  Esq. 

(91).  Blue  and  Silver 

Boston  Catalogue:    Page  13,  No.  94. 
Lent  by  Mrs.  John  C.  Bancroft. 

(92).  Near  Calais 

Boston  Catalogue:    Page  13,  No.  95. 
Lent  by  Miss  A.  B.  Jennings. 

(93).  Green  and  Blue  (Water-Colour)' 

"The  Dancer." 

A  slender  female  figure  in  green  gauzy  robes. 

Gold  coloured  ribbons  cross  her  chest  and  form  a 

girdle.    She  wears  a  red  cap  with  a  blue  border. 

Boston  Catalogue:    Page  13,  No.  96. 
Lent  by  R.  A.  Canfield,  Esq. 


172         THE  WORKS  OF  WHISTLER 

(94).  "ZuyderZee" 

Boston  Catalogue:    Page  13,  No.  97. 

Lent  by  Col.  Frank  J.  Hecker. 


(95).  Violet  and  Silver  (Water-Colour) 
"The  Afternoon  Dream." 

Woman  in  thin  robes  lying  on  a  couch;  a  child  is 
also  on  the  couch.     The  woman  faces  the  spectator; 
only  the  back  of  the  child  is  seen.     Blue  butterfly  to 
the  left  of  the  centre  near  the  top. 
Boston  Catalogue:    Page  13,  No.  98. 

Lent  by  R.  A.  Canfield,  Esq. 


(96).  "Blue  and  Silver 

The  Chopping  Channel." 

Boston  Catalogue:    Page  13,  No.  99. 

Lent  by  Charles  L.  Freer,  Esq. 


(97).  "A  Note  in  Green" 

Boston  Catalogue:    Page  13,  No.  100. 
Paris  Catalogue:    Page  56,  No.  89. 

(H.  0,240— L.  0,160) 
Lent  by  Charles  L.  Freer,  Esq. 

(98).  "Nocturne — Black  and  Red 
Back  Canal,  Holland" 
Boston  Catalogue:    Page  13,  No.  101. 
Paris  Catalogue:    Page  63,  No.  121. 

(H.  0,210— L.  0,270,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  173 

(99).  "Nocturne — Grey  and  Gold 

Canal,  Holland" 

Boston  Catalogue:    Page  13,  No.  102. 

Paris  Catalogue:    Page  62,  No.  119. 

(H.  0,283— L.  0,225,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 

(100).  Portrait  of  Mrs.  Whibley 

Boston  Catalogue:    Page  14,  No.  103. 
Paris  Catalogue:    Page  55,  No.  86. 

(H.  0,265— L.  0,185) 

(In  the  Paris  Catalogue  the  title  is  "Rose  and  Sil- 
ver:   Portrait  of  Mrs.  Whibley.") 

Lent  by  Charles  L.  Freer,  Esq. 

(101).  Young  Girl,  Standing 

Boston  Catalogue:    Page  14,  No.  104. 

Lent  by  Albert  Rouillier,  Esq. 


(102).  "Petit  De'jeuner 
Note  in  Opal." 
Boston  Catalogue:    Page  14,  No.  105. 

Lent  by  Charles  L.  Freer,  Esq. 

(103).  "Nocturne- 
Grand  Canal,  Amsterdam" 
Boston  Catalogue:   Page  14,  No.  106. 
Paris  Catalogue:    Page  63,  No.  122. 

(H.  0,245— L.  0,270,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


174         THE  WORKS  OF  WHISTLER 

(104).  "Grey  and  Silver— 

The  Mersey" 

Boston  Catalogue:    Page  14,  No.  107. 

Paris  Catalogue:    Page  61,  No.  113. 

(H,  0,145— L.  0,255,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(105).  The  Thames 

Blue  and  Silver. 

Boston  Catalogue:    Page  14,  No.  108. 
Lent  by  Mrs.  Frank  Gair  Macomber. 

(106).  Off  the  Brittany  Coast 

Boston  Catalogue:    Page  14,  No.  109. 
Lent  by  Henry  Harper  Benedict,  Esq. 

(107).  "The  Gossips"— Ajaccio  (Water-Colour,  partly  out- 
lined with  Pen  and  Ink) 
Boston  Catalogue:    Page  14,  No.  110. 
Paris  Catalogue:  Page  57,  No.  95. 

(H.  0,270— L.  0,180) 
Lent  by  R.  A.  Canfield,  Esq. 

(108).  "Blue  and  Gold 

The  Rose  Azalea." 

Boston  Catalogue:   Page  14,  No.  111. 

Paris  Catalogue:    Page  71,  No.  138. 

(H.  0,255— L.  0,165) 
Lent  by  Charles  L.  Freer,  Esq. 

(109).  "A  Venetian  Doorway"   (Pastel) 

Boston  Catalogue:    Page  15,  No.  112. 

Paris  Catalogue:    Page  78,  No.  165. 

(H.  0,273— L.  0,185,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  175 

(110).  Blue  and  Silver 

"Afternoon — The  Channel." 

Dark,  chopping  sea  and  cloudy  sky.     Dark  blue 

butterfly  to  the  lower  right. 

Boston  Catalogue:    Page  15,  No.  113. 
Lent  by  R.  A.  Canfield,  Esq. 

(111).  "Morning  Glories"    (Pastel) 

Boston  Catalogue:    Page  15,  No.  114. 

Paris  Catalogue:    Page  71,  No.  136. 

(H.  0,235— L.  0,135) 
Lent  by  Charles  L.  Freer,  Esq. 

(112).  Mother  and  Child  (Pastel) 

Boston  Catalogue:    Page  15,  No.  115. 
Lent  by  John  H.  Wrenn,  Esq. 

(113).  The  Japanese  Dress  (Pastel,  with  black  crayon  out- 
line on  brown  paper) 

Woman  standing,  holding  Japanese  umbrella  in 
right  hand.  Colours  of  umbrella,  deep  yellow,  pale 
blue,  and  white.  The  robe  is  decorated  with  a  pattern 
of  peacock  blue,  flesh  colour  and  light  blue.  The  under- 
robe  is  grey-blue  with  touches  of  light  blue  and  of 
bright  rose.  The  sash  is  vermilion.  Cap  flesh  colour, 
with  band  of  blue.  Butterfly  is  peacock-blue.  The 
hair  is  yellow. 
Boston  Catalogue:  Page  15,  No.  116. 

Lent  by  Howard  Mansfield,  Esq. 

(114).  "Blue  and  Violet"  (Pastel) 

Boston  Catalogue:    Page  15,  No.  117. 

Paris  Catalogue:    Page  71,  No.  140. 

(H.  0,255— L.  0,150) 
Lent  by  Miss  R.  Birnie-Philip. 


176         THE  WORKS  OF  WHISTLER 

(115).  "May"  (Early  Pastel) 

Boston  Catalogue:    Page  15,  No.  118. 

Paris  Catalogue:    Page  68,  No.  127. 

(H.  0,90— L.  0,157) 
Lent  by  Miss  R.  Birnie-Philip. 

(116).  The  Captive  (Pastel) 

A  woman  is  seated  on  a  sofa  and  is  restraining  a 
child  who  tries  to  climb  over  the  arm  of  the  sofa.  The 
outline  is  in  black  on  brown  paper,  with  touches  of 
yellow  and  of  white.  Butterfly  on  the  back  of  the 
sofa. 
Boston  Catalogue:  Page  15,  No.  119. 

Lent  by  R.  A.  Canfield,  Esq. 

(117).  "Sleeping"  (Pastel) 

Boston  Catalogue:    Page  15,  No.  120. 

Lent  by  Charles  L.  Freer,  Esq. 

(118).  "The  Purple  Cap"  (Pastel) 

Boston  Catalogue:    Page  15,  No.  121. 

Paris    Catalogue:      Page    73,    No.   146. 

(H.  0,260— L.  0,165) 
Lent  by  Charles  L.  Freer,  Esq. 

(119).  Two  Standing  Figures   (Pastel) 

Boston  Catalogue:    Page  16,  No.  122. 

Lent  by  Mrs.  Frank  Gair  Macomber. 

(120).  The  Palace 

Pink  and  White  (Pastel). 

Boston  Catalogue:    Page  16,  No.  123. 

Lent  by  H.  O.  Havemeyer,  Esq. 


Blue  and  Violet. 
"IRIS." 
(Pa^el.) 
Reproduced  by  kind  permission  of  R.  A.  Canfield,  E«q. 


LIST  OF  PAINTINGS  177 

(121).  Greek  Girl  (Pastel) 

Boston  Catalogue:    Page  16,  No.  124. 
Lent  by  H.  O.  Havemeyer,  Esq. 

(122).  Blue  and  Violet 

"Iris"  (Pastel) 

Boston  Catalogue:    Page  16,  No.  125. 

Paris  Catalogue:    Page  73,  No.  145. 

(H.  0,272— L.  0,180) 
Lent  by  R.  A.  Canfield,  Esq. 

(123).  "Mother  and  Child— 

The  Pearl"  (Pastel) 

Boston  Catalogue:    Page  16,  No.  126. 
Lent  by  Charles  L.  Freer,  Esq. 

(124).  Archway,  Venice  (Pastel) 

A  child  is  leaning  against  the  left  wall;  standing 
figure  in  the  middle;  woman's  figure  within  archway. 
Colours:  red,  light  green  and  dark  green.  Woman 
wears  an  orange  shawl  and  there  is  a  little  blue  in  the 
ipper  part  of  an  arched  doorway  seen  through  the 
larger  arch.  In  this  doorway  are  also  light  pink  and 
yellow.  A  green  shutter  is  above  the  woman's  left 
shoulder.  Rose  colour  in  the  wall  above  deepening  to 
crimson  in  the  window  above  the  doorway  seen  at  the 
right. 
Boston  Catalogue:  Page  16,  No.  127. 

Lent  by  Howard  Mansfield,  Esq. 

(125).  "Writing  on  the  Wall"  (Pastel) 

Boston  Catalogue:    Page  16,  No.  128. 
Paris  Catalogue:    Page  69,  No.  131. 

(H.  0,260— L.  0,160,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


178         THE  WORKS  OF  WHISTLER 

(126).  The  Dancing  Girl  (Pastel) 

The  figure  is  drawn  with  much  movement,  yellow 

drapery. 

Boston  Catalogue:    Page  16,  No.  129. 
Lent  by  Howard  Mansfield,  Esq. 

(127).  "Rose  and  Red 

The  Little  Pink  Cap"  (Pastel). 
Boston  Catalogue:    Page  16,  No.  130. 
Paris  Catalogue:    Page  73,  No.  144. 

(H.  0,255— L.  0,180,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(128).  "The  Green  Cap"  (Pastel) 

Boston  Catalogue:    Page  17,  No.  131. 
Lent  by  Charles  L.  Freer,  Esq. 

(129).  A  Japanese  Woman  (Pastel) 

Boston  Catalogue:    Page  17,  No.  132. 
Lent  by  Hon.  John  P.  Elton. 

(130).  "A  Violet  Note"  (Pastel) 

Boston  Catalogue:    Page  17,  No.  133. 
Lent  by  Charles  L.  Freer,  Esq. 

(131).  "Spring"  (Pastel) 

Boston  Catalogue:    Page  17,  No.  134. 
Lent  by  Col.  Frank  J.  Hecker. 

(132).  "Grey  and  Silver- 
Pier,  Southend." 

Boston  Catalogue:    Page  17,  No.  135. 
Paris  Catalogue:    Page  60,  No.  109. 

(H.  0,145— L.  0,232,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  179 

(133).  The  Queen's  Naval  Jubilee,  1897 

Boston  Catalogue:    Page  17,  No.  136. 

Lent  by  Miss  Tuckerman. 

(134).  "The  Studio 

Note  in  Pink  and  Purple." 

Boston  Catalogue:    Page  17,  No.  137. 

Lent  by  Charles  L.  Freer,  Esq. 

(135).  Grey  and  Silver 

"The  Golf  Links"— Dublin  (Water-Colour). 

Green  fields,  wild,  cloudy  sky.     Butterfly  in  grey 
near  lower  right-hand  corner. 
Boston  Catalogue:    Page  17,  No.  138. 

Lent  by  R.  A.  Canfield,  Esq. 

(136).  "The  Shop" 
An  Exterior. 
Boston  Catalogue:    Page  17,  No.  139. 

Lent  by  Mrs.  Frances  M.  French. 

(137).  Grey  Note 

Mouth  of  the  Thames. 

Boston  Catalogue:    Page  18,  No.  140. 

Lent  by  Walter  Gay,  Esq. 

(138).  Grey  and  Gold 

"Belle-Isle"  (Water-Colour). 

Boston  Catalogue:    Page  18,  No.  141. 

Paris  Catalogue:    Page  59,  No.  106. 

(H.  0,205— L.  0,130) 
Lent  by  R.  A.  Canfield,  Esq. 


180         THE  WORKS  OF  WHISTLER 

(139).  Marine 

Boston  Catalogue:    Page  18,  No.  143. 
Lent  by  Miss  Louisa  C.  Hooper. 

(140).  Marine 

Boston  Catalogue:   Page  18,  No.  143. 
Lent  by  Mrs.  Bancel  Lafarge. 

(141).  "The  Pink  Cap"  ( Water-Colour) 

Figure  standing  with  back  toward  spectator.    Head 
turned  in  profile.     Transparent  drapery.    Butterfly  in 
grey  outline  a  third  of  the  way  up  at  the  left. 
Boston  Catalogue:    Page  18,  No.  144. 

Lent  by  R.  A.  Canfield,  Esq. 

(142).  Schevingen  ( Water-Colour) 

Boston  Catalogue:    Page  18,  No.  145. 
London  Catalogue:    Page  94,  No.  42. 

(H.  4V2— B.  8) 

(In  London    Catalogue    the    title    reads,    "Little 
Scheveningen :  a  grey  note.") 
Lent  by  Walter  Gay,  Esq. 

(143).  Blue  and  Silver  (Water-Colour) 

"Morning" — Ajaccio. 

Pier  with  crowd  of  figures,  crisp  clouds  in  sky. 

Boston  Catalogue:    Page  18,  No.  146. 
Lent  by  R.  A.  Canfield,  Esq. 

(144).  "The  Sea  Shore" 

Boston  Catalogue:    Page  18,  No.  147. 
Paris  Catalogue:    Page  59,  No.  104. 

(H.  0,205— L.  0,120,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  181 

(145).  "Market,  Ajaccio"  (Pencil) 

Boston  Catalogue:    Page  19,  No.  148. 

Paris  Catalogue:    Page  83,  No.  186. 

(H.  0,120— L.  0,080) 
Lent  by  Miss  R,  Birnie-Philip. 

(146).  "Ajaccio"  (Pencil) 

Boston  Catalogue:    Page  19,  No.  149. 
Lent  by  Miss  R.  Birnie-Philip. 

(147).  "Ajaccio"  (Sepia  Wash) 

Boston  Catalogue:    Page  19,  No.  150. 
Lent  by  Miss  R.  Birnie-Philip. 

(148).  "Ajaccio"  (Pencil) 

Boston  Catalogue:    Page  19,  No.  151. 
Lent  by  Miss  R.  Birnie-Philip. 

(149).  "Algiers"  (Pencil) 

Boston  Catalogue:    Page  19,  No.  152. 
Lent  by  Miss  R.  Birnie-Philip. 

(150).  "Ajaccio"  (Sepia) 

Boston  Catalogue:   Page  19,  No.  153. 
Lent  by  Miss  R.  Birnie-Philip. 

(151).  "Green  and  Brown— Ajaccio"  (Wash) 

Boston  Catalogue:    Page  19,  No.  154. 
Lent  by  Miss  R.  Birnie-Philip. 

(152).  "Ajaccio"  (Pencil) 

Boston  Catalogue:    Page  19,  No.  155. 
Lent  by  Miss  R.  Birnie-Philip. 


182         THE  WORKS  OF  WHISTLER 

(153).  "Old  House,  Canterbury,  England"  (Pen  and  Ink) 
Boston  Catalogue:    Page  19,  No.  156. 

Lent  by  Miss  R.  Birnie-Philip. 

(154).  Street  Scene  in  London 
Fog  (Pastel). 
Boston  Catalogue:    Page  20,  No.  157. 

Lent  by  Mrs.  D.  B.  Flint. 

(155).  "At  Sea'*  (Pen  and  Ink) 

Figures  leaning  over  the  railing  of  a  ship.    Brown 
ink.    Butterfly  above  the  centre  at  the  right. 
Boston  Catalogue:    Page  20,  No.  158. 

Lent  by  R.  A.  Canfield,  Esq. 

(156).  "Street,"  Corsica  (Pen  and  Ink) 

Boston  Catalogue:    Page  20,  No.  159. 

Lent  by  R.  A.  Canfield,  Esq. 

(157).  "The  Dancer"  (No.  1)  (Pen  and  Ink) 

The  dancer  has  right  foot  raised  and  holds  a  closed 
fan.    Butterfly  to  the  left,  below  the  centre.    Drapery 
of  figure  transparent. 
Boston  Catalogue:   Page  20,  No.  160. 

Lent  by  R.  A.  Canfield,  Esq.  i 

(168).  "The  Forge"  (Pencil) 

Very  silvery  in  tone.    Butterfly  to  the  left  of  the 
centre. 
Boston  Catalogue:    Page  20,  No.  161. 

Lent  by  R.  A.  Canfield,  Esq. 


LIST  OF  PAINTINGS  183 

(159).  "The  Cafe"— Algiers  (Pen  and  Ink) 

Two  arched  doorways,  the  larger  at  the  left  with  a 

bench  in  front  at  one  side,  and  an  awning  above.     A 

tree  cuts  across  the  larger  doorway.    Butterfly  to  the 

left  of  the  centre. 

Boston  Catalogue:  Page  20,  No.  162. 
Lent  by  R.  A.  Canfield,  Esq. 

(160).  "Shop"— Algiers  (Pen  and  Ink) 

Butterfly  left  centre.     Little  boy  at  right  in  front. 

Woman  back  of  him  inside  of  shop. 

Boston  Catalogue:  Page  20,  No.  163. 
Lent  by  R.  A.  Canfield,  Esq. 

(161).  Algiers— "A  Street"  (Pen  and  Ink) 
Butterfly  to  the  left  of  the  centre. 
Boston  Catalogue:    Page  20,  No.  164. 
Lent  by  R.  A.  Canfield,  Esq. 

(162).  "The  Dancer"  (No.  2)  (Pen  and  Ink) 

The  dancer  has  left  foot  raised,  and  holds  open  fan 

in  right  hand.     Transparent  drapery.     Butterfly  is  at 

left  under  fan. 

Boston  Catalogue:    Page  20,  No.  165. 
Lent  by  R.  A.  Canfield,  Esq. 

(163).  "Street"— Ajaccio    (Pencil) 

Boston  Catalogue:    Page  20,  No.  166. 
Lent  by  R.  A.  Canfield,  Esq. 

(164).  Fanny  Leyland 

Boston  Catalogue:    Page  21,  No.  167. 
Lent  by  John  H.  Wrenn,  Esq. 


184         THE  WORKS  OF  WHISTLER 

(165).  The  Evolution  of  the  Butterfly  (Pen  and  Ink) 

Boston  Catalogue:    Page  21,  No.  168. 
Lent  by  Mrs.  John  C.  Bancroft. 

(166).  Sketch  (Sepia  Wash) 

Boston  Catalogue:    Page  21,  No.  169. 
Lent  by  Mrs.  Louise  Chandler  Moulton. 

(167).  Twenty-two  drawings  and  sketches  done  by  Mr. 
Whistler  while  at  school  at  Pomfret,  Conn.,  about 
1850. 

Boston  Catalogue:    Page  21,  No.  170. 
Lent  by  Samuel  Hammond,  Esq. 

(168).  Cadet  Drawings  Under  Instruction 

1.    (Pen  and  Ink.)     2.  (Wash.) 

Boston  Catalogue:    Page  21,  No.  171. 

Lent  by  Dept.  of  Drawing,  U.  S.  Military  Academy,  West 
Point,  N.  Y. 

(169).  Chalk  Drawing 

Boston  Catalogue:    Page  21,  No.  172. 

Lent  by  Albert  Eugene  Gallatin,  Esq. 

(170).  Girl  with  a  Fan  (Pastel) 

Boston  Catalogue:    Page  21,  No.  173. 
Lent  by  Howard  Mansfield,  Esq. 

(171).  Woman  with  a  Fan  (Pastel) 

Boston  Catalogue:    Page  21,  No.  174. 
Lent  by  Howard  Mansfield,  Esq. 

(172).  Sunset  Note  (Pastel) 

Boston  Catalogue:    Page  21,  No.  175. 
Lent  by  Howard  Mansfield,  Esq. 


LIST  OF  PAINTINGS  185 

(173).  Model  Resting  (Pastel) 

Boston  Catalogue:    Page  22,  No.  176. 

Lent  by  Howard  Mansfield,  Esq. 

(174).  Model  in  Armchair  (Pastel) 

Boston  Catalogue:    Page  22,  No.  177. 

Lent  by  Howard  Mansfield,  Esq. 

(175).  Model  with  a  Fan  (Pastel) 

Standing  figure   facing  right,  white  gown.     Fan 
with  red  figures  held  up  to  mouth;  red  sash.    Bright 
white  touch  back  of  fan. 
Boston  Catalogue:    Page  22,  No.  178. 

Lent  by  Howard  Mansfield,  Esq. 

(176).  Portrait  Study  (Pastel) 

Very  crisp  black  crayon  outline  of  man  with  head 
resting  on  his  hand,  facing  right.     White  shirt. 
Boston  Catalogue:    Page  22,  No.  179. 

Lent  by  Howard  Mansfield,  Esq. 

(177).  Portrait  Sketch  (Pastel) 

Black  crayon  outline  of  man.    Full  face. 
Boston  Catalogue:    Page  22,  No.  180. 

Lent  by  Howard  Mansfield,  Esq. 

(178).  Study  for  a  Picture  (Pastel) 

Three  figures  of  women,  bending  figure  at  left,  kneel- 
ing figure  with  flowers,  standing  figure  with  jug  in 
right  hand  and  Japanese  parasol  in  left  hand. 
Boston  Catalogue:    Page  22,  No.  181. 

Lent  by  Howard  Mansfield,  Esq. 


186         THE  WORKS  OF  WHISTLER 

(179).  Nude  Figure,  Standing  (Pastel) 

Figure  faces  to  the  right.    Hair  brown.    Touches  of 
white  pastel  back  of  figure.    Touches  of  flesh  colour  on 
body. 
Boston  Catalogue:    Page  22,  No.  182. 

Lent  by  Howard  Mansfield,  Esq. 

(180).  Draped  Figure,  Standing  (Pastel) 

Woman  in  long  classic  transparent  draperies,  blue 

cap.      Stands   with    one   arm    resting   on    a    shelf, 

the  other  hanging  at  her  side. 

Boston  Catalogue:    Page  22,  No.  183. 
Lent  by  Howard  Mansfield,  Esq. 

(181).  Sketch  of  a  Girl  (Pastel) 

The  girl  is  Florence  Leyland.     Yellow  hair  falls 
over  her  shoulders.     She  wears  a  flounced  dress  with 
touches  of  blue  and  rose  in  the  flounces.    The  sash  has 
rose-coloured  lines  in  it  and  the  cuff  is  white. 
Boston  Catalogue:    Page  22,  No.  184. 

Lent  by  Howard  Mansfield,  Esq. 

(182).  La  Mere  Gerard  (Oil) 

Signed  "Whistler"  at  the  right 
Paris  Catalogue:    Page  17,  No.  2. 
London  Catalogue:    Page  102,  No.  68. 

(H.  11— B.  8) 
Lent  by  Algernon  Charles  Swinburne,  Esq. 

(183).  Head  of  An   Old  Man  Smoking 

Signed  "Whistler"  at  the  right. 
Paris  Catalogue:    Page  18,  No.  3. 

(H.  0,400— L.  0,350) 
Lent  by  M.  Drouet. 


LIST  OF  PAINTINGS  187 

(184).  Tetc  de  Paysanne  (Oil) 

Paris  Catalogue:    Page  18,  No.  3  bis. 
London  Catalogue:     Page  106,  No.  80. 

(H.  9ft— B.  «ft) 
(Title  in  London  Catalogue,  "Tete  de  Femme."), 

Lent  by  Madame  la  Comtesse  de  Beam. 

(185).  A  White  Note 

Paris  Catalogue:    Page  19,  No.  6. 

(H.  0,380— L.  0,320) 
Lent  by  Mrs.  Cobden-Sickert. 

(186).  "Endormie" 

Page  68,  No.  126. 

(H.  0,183— L.  0,273) 

(187).  Caprice  in  Purple  and  Gold:  The  Golden  Screen 

Signed  "Whistler,  1864." 
Paris  Catalogue:    Page  20,  No.  8. 

(H.  0,460— L.  0,490,  inside  the  frame) 

Lent  by  Charles  L.  Freer,  Esq. 

(188).  Arrangement  in  Black  and  Grey 

Portrait  of  "My  Mother"  (Oil). 

Paris  Catalogue:    Page  25,  No.  17. 

London  Catalogue:    Page  83,  No.  23. 

(H.  56— B.  64) 
Lent  by  the  Musee  National  du  Luxembourg. 

(189).  Portrait  of  Miss  Cicely  Henrietta  Alexander 

(Now  Mrs.  Bernard  Spring  Rice  )  (Oil) 
Paris  Catalogue:    Page  26,  No.  18. 
London  Catalogue:    Page  87,  No.  32. 

(H.  74— B.  39) 
Lent  by  W.  C.  Alexander,  Esq. 


188         THE  WORKS  OF  WHISTLER 

[Mr.  Alexander  writes  that  this  portrait  was  painted  at 
Chelsea  in  1874,  and  was  begun  just  before  that  of  Carlyle. 
The  commission  was  given  after  Mr.  Alexander  had  seen  the 
portrait  of  the  artist's  mother.] 

(190).  Portrait  of  Miss  Alexander  (Oil) 
Paris  Catalogue:    Page  26,  No.  19. 
London  Catalogue:    Page  116,  No.  109. 

(H.  74— B.  37) 

(In  the  London  Catalogue  the  title  is  "Portrait  of 
Agnes  Mary,  Miss  Alexander.") 

Lent  by  W.  C.  Alexander,  Esq. 

[Mr.  Alexander  writes  that  this  picture  was  painted  in  the 
drawing-room  of  the  Aubrey  House,  Kensington,  W.,  which 
previously  had  been  decorated  by  Whistler.  The  picture  was 
left  unfinished  on  account  of  the  illness  of  Miss  Alexander.] 

(191).  Portrait  of  Mr.  George  W.  Vanderbilt 
Paris  Catalogue:    Page  28,  No.  22. 

(H.  2  m.  06— L.    o.  m.  94) 

Lent  by  George  W.  Vanderbilt,  Esq. 


(192).  Rose  and  Gold:   The  Tulip 

Paris  Catalogue:    Page  29,  No.  24. 

(H.  1  m.  90— L.  o.  m.  89) 
Lent  by  Miss  R.  Birnie-Philip. 

(193).  Portrait  of  Doctor  Davenport 

Paris  Catalogue:    Page  30,  No.  28. 

(H.  0,580— L.  0,380) 
Lent  by  Dr.  Isaac  Davenport. 


LIST  OF  PAINTINGS  189 

(194).  Le  Philosophe  (Oil) 

Paris  Catalogue:    Page  31,  No.  30. 

London  Catalogue:    Page  111,  No.  96. 

(H.  8V2-B.  43/4) 
Lent  by  Madame  la  Comtesse  de  Beam. 

(195).  Portrait  of  Miss  Annie  Haden 

Signed  "To  Annie — Whistler"  in  lower  right  corner. 
Paris  Catalogue:    Page  31,  No.  31. 

(H.  0,410— L.  0,270) 
Lent  by  M.  Jerome  Doucet. 

(196).  The  Rose  Scarf 

Paris  Catalogue:    Page  31,  No.  32. 

(H.  0,275— L.  0.200) 

(197).  Ivoire  et  or.    Portrait  de  Madame  V. 
Paris  Catalogue:    Page  31,  No.  33. 

(H.  0,650— L.  0,549) 
Lent  by  George  W.  Vanderbilt,  Esq. 

(198).  The  Jade  Necklace 

Paris  Catalogue:    Page  32,  No.  34. 

(H.  0,500— L.  0,310) 

(199).  The  Boy  in  a  Cloak 

Pam  Catalogue:    Page  32,  No.  35. 

(H.  0,960— L.  0,690) 

(200).  Brown  and  Gold:    De  Race 

Paris  Catalogue:  Page  33,  No.  36. 

H.  0,500— L.  0,300) 

(201).  Lily 

Paris  Catalogue:    Page  33,  No.  38. 

(H.  0,610— L.  0,500) 


190         THE  WORKS  OF  WHISTLER 

(202).  Dorothy  Seton.    A  Daughter  of  Eve 
Paris  Catalogue:    Page  33,  No.  40. 

(H.  0,510— L.  0,310) 

(203).  The  Little  London  Sparrow 

Paris  Catalogue:    Page  34,  No.  41  bis. 

(H.  0,500— L.  0,350) 
Lent  by  George  W.  Vanderbilt,  Esq. 

(204).  The  Little  Faustina 

Paris  Catalogue:    Page  35,  No.  43. 

(H.  0,510— L.  0,300) 

(205).  "La  Toison  rouge" 

Paris  Catalogue:    Page  35,  No.  44. 

(H.  0,520— L.  0,320) 

(206).  Portrait  d'enfant 

Paris  Catalogue:    Page  35,  No.  45. 

(H.  0,630— L.  0,490) 
Lent  by  George  W.  Vanderbilt,  Esq. 

(207).  Portrait  of  a  Baby 

Paris  Catalogue:    Page  36,  No.  46. 

London  Catalogue:    Page  105,  No.  76. 

(H.  191/2— B.  11%) 
Lent  by  Brandon  Thomas,  Esq. 

(208).  "Le  bebe  francais" 

Paris  Catalogue:    Page  36,  No.  47. 

(Circular— 0,350) 

(209).  Rose  and  Green.     A  Study 

Paris  Catalogue:    Page  36,  No.  49. 

(H.  0,800— L.  0,510) 


LIST  OF  PAINTINGS  191 

(210).  Ariel 

Paris  Catalogue:    Page  37,  No.  50. 

(H.  0,225— L.  0,134) 

(211).  Flesh  Colour  and  Silver.    The  Card  Players 
Paris  Catalogue:    Page  37,  No.  51. 

(H.  0,134— L.  0,238) 

(212).  The  Little  White  Sofa  (Oil) 

Paris  Catalogue:    Page  37,  No.  53. 
London  Catalogue:    Page  112,  No.  98. 

(H.  4— B.  6i/2) 
Lent  by  A.  Arnold  Hannay,  Esq. 

(213).  The  Little  Red  Note 

Paris  Catalogue:    Page  38,  No.  54. 

(H.  0,098— L.  0,155) 
Lent  by  H.  Cust,  Esq.,  M.  P. 

(214).  Crepuscule.     Flesh  Colour  and  Green.    Valparaiso 

Signed  "Whistler,  Valparaiso,  '65,"  in  lower  left 
corner. 

Paris  Catalogue:    Page  42,  No.  59. 
London  Catalogue:    Page  110,  No.  93.     (Valparaiso 
Nocturne.) 

(H.  22— B.  29) 
Lent  by  W.  Graham  Robertson,  Esq. 

(215).  Grey  and  Silver.    The  Thames 

Paris  Catalogue:    Page  44,  No.  64. 

(H.  0,610— L.  0,460) 

(216).  Nocturne  in  Blue  and  Green 

Paris  Catalogue:    Page  48,  No.  72. 

(H.  0,500— L.  0,500) 
Lent  by  W.  C.  Alexander,  Esq. 


192         THE  WORKS  OF  WHISTLER 

(217).  Nocturne,  Westminster,  Grey  and  Gold 
Paris  Catalogue:    Page  48,  No.  74. 

(H.  0,470— L.  0,300) 
Lent  by  A.  A.  Hannay,  Esq. 

(218).  The  Sea.    Britanny 

Paris  Catalogue:    Page  49,  No.  76. 

(H.  0,095— L.  0,155) 

(219).  Violet  and  Blue.    The  Little  Bathers 

Perosquerie. 

Paris  Catalogue:    Page  49,  No.  77. 

(H.  0,130— L.  0,215) 
Lent  by  A.  A.  Hannay,  Esq. 

(220).  St.  Ives.    The  Beach 

Paris  Catalogue:    Page  49,  No.  78. 
London  Catalogue:    Page  109,  No.  88. 

(H.  sji— B.  ny2) 

Lent  by  Monsieur  J.  E.  Blanche. 

(221).  Note  in  Blue  and  Opal,  the  Sun  Cloud 
Paris  Catalogue:    Page  50,  No.  79. 

(H.  0,130— L.  0,225) 
Lent  by  Charles  L.  Freer,  Esq. 

(222).  The  Little  Red  House 

Paris  Catalogue:    Page  50,  No.  80. 

(H.  0,230— L.  0,145) 

(223).  "Le  blanchisseuse;  Dieppe" 

Paris  Catalogue:    Page  50,  No.  81. 

(H.  0,255— L.  0,150) 

(224).  The  Little  Forge;  Lyme  Regis 

Paris  Catalogue:    Page  50,  No.  82. 

(H.  0,145— L.  0,245) 


LIST  OF  PAINTINGS  193 

(225).  A  Grey  Note;  Village  Street 

Paris  Catalogue:    Page  50,  No.  83. 

(H.  0,138— L.  0,227) 

(226).  An  Orange  Note.    The  Sweet  Shop 
Paris  Catalogue:    Page  61,  No.  84. 

(H.  0,130— L.  0,222) 
Lent  by  Charles  L.  Freer,  Esq. 

(227).  The  Canal.    Amsterdam 

Paris  Catalogue:    Page  51,  No.  85. 

(H.  0,150— L.  0,145) 

(228).  Noir  et  Or.  Madge  O'Donoghue  (Water-Colour) 
Paris  Catalogue:    Page  55,  No.  87. 

(H.  0,240— L.  0,170) 
Lent  by  A.  A.  Hannay,  Esq. 

(229).  Harmony  in  Violet  and  Amber 
Paris  Catalogue:   Page  55,  No.  88. 

(H.  0,245— L.  0,150) 
Lent  by  Charles  L.  Freer,  Esq. 

(230).  Gold    and    Brown.      The    Guitar    Player 
Paris  Catalogue:    Page  56,  No.  90. 

(H.  0,235— L.  0,148) 
(231).  Bravura  in  Brown 

Paris  Catalogue:    Page  56,  No.  91. 

(H.  0,270— L.  0,170) 
Lent  by  Charles  L.  Freer,  Esq. 

(232).  Draped  Figure  and  Cupid 

Paris  Catalogue:    Page  56,  No.  92. 

(H.  0,250— L.  0,175) 
Lent  by  Madame  la  Comtesse  de  Beam. 

(233).  The  Little  Blue  Cap 

Paris  Catalogue:  Page  57,  No.  93. 

(H.  0,285— L.  0,190) 


194         THE  WORKS  OF  WHISTLER 

(234).  "Rose   et   argent.     Fleurs  de  printemps" 
Paris  Catalogue:    Page  57,  No.  94. 

(H.  284— L.  0,184) 
(235).  Grey  and  Green.  A  Shop  in  Brittany  (Water-Colour 

on  Canvas) 
Paris  Catalogue:    Page  57,  No.  96. 

(H.  0,155— L.  0,250) 
(236).  Chelsea  Children 

Paris  Catalogue:    Page  57,  No.  97. 

(H.  0,110— L.  0,210) 
Lent  by  Charles  L.  Freer,  Esq. 

(237)  Chelsea  Shops 

Paris  Catalogue:    Page  58,  No.  98. 

(H.  0,140— L.  0,225) 

(238).  Terry's  Fruit-Shop;   Chelsea 

Paris  Catalogue:    Page  58,  No.  99. 

(H.  0,150— L.  0,210) 
(239).  Moreby  Hall 

Paris  Catalogue:    Page  58,  No.  100. 

(H.  0,180— L.  0,270,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(240).  Westminster  from  the  Savoy 

Paris  Catalogue:    Page  58,    No.  101. 

(H.  0,230— L.  0,145) 
(241).  Note  in  Blue  and  Opal.    Jersey 

Paris  Catalogue:    Page  58,  No.  102. 

(H.  0,120— L.  0,240,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(242).  The  Opal  Beach 

Paris  Catalogue:    Page  59,  No.  105. 

(H.  0,156— L.  0,246,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 


LIST  OF  PAINTINGS  195 

(243).  Violet  and  Silver.     Low  Tide.     Belle  Isle 
Paris  Catalogue:    Page  60,  No.  107. 

(H.  0,140— L.  0,220) 
(244).  Blue  and  Silver.     Belle  Isle 

(H.  0,220— L.  0,138) 
Paris  Catalogue:    Page  60,  No.  108. 

(245).  Southend  Pier 

Paris  Catalogue:    Page  60,  No.  110. 

(H.  0,168— L.  0,225,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(246).  The  Opal  Sea 

Paris  Catalogue:    Page  61,  No.  111. 

(H.  0,140— L.  0,220) 
Lent  by  Mrs.  Cobden  Sickert. 

(247).  In  the  Channel 

Paris  Catalogue:    Page  61,  No.  112. 

(H.  0,170— L.  0,270) 
Lent  by  Mrs.  Charles  Knowles. 

(248).  Silver  and  Grey.  The  Fishing  Fleet 
Paris  Catalogue:    Page  61,  No.  114. 

(H.  0,130— L.  0,210) 

(249).  A  Note  in  Grey  and  Green.  Holland 
Paris  Catalogue:    Page  62,  No.  115. 

(H.  0,140— L.  0,230) 

(250).  Sea  and  Sand;  Domberg  (Water-Colour) 
Paris  Catalogue:    Page  62,  No.  116. 

(H.  0,220— L.  0,135) 
(251).  Dordrecht  (Water-Colour) 

Paris  Catalogue:    Page  62,  No.  117. 

(H.  0,140— L.  0,220) 

(252).  On  the  Sea  Shore  (Water-Colour) 
Paris  Catalogue:    Page  62,  No.  118. 

(H.  0,138— L.  0,226) 


196         THE  WORKS  OF  WHISTLER 

(253).  Nocturne.    Amsterdam  in  Winter  (Water-Colour) 
Paris  Catalogue:    Page  63,  No.  120. 

(H.  0,195— L.  0,265,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 


THE  FOLLOWING  NUMBERS,  FROM  254  TO 
306,  ARE  GROUPED  IN  THE  FRENCH  CAT- 
ALOGUE UNDER  THE  DESCRIPTIVE  HEAD- 
ING "PASTELS  AND  DRAWINGS." 

(254).  Croquis  de  la  Serie  des  Voyages  du  Rhin  (Pencil 

drawing)  1858 
•Paris  Catalogue:   Page  67,  No.  122A. 

(H.  0,210— L.  0,155) 
Lent  by  Charles  L.  Freer,  Esq. 

(255).  Portrait  of  Fantin-Latour   (Crayon  Drawing)  1859 

Paris  Catalogue:    Page  67,  No.  122B. 
Lent  by  Madame  Fantin-Latour. 

(256).  Portrait    of    Whistler    (Black    Crayon    on    Brown 

Paper) 
Paris  Catalogue:    Page  67,  No.  123. 

(H.  0,170— L.  0,135) 
Lent  by  J.  P.  Heseltine,  Esq. 

(257).  Mrs.   Leyland 

Paris  Catalogue:    Page  67,  No.  123  bis. 
London  Catalogue:    Page  108,  No.  84. 

(H.  10%-B.  6%) 
Lent  by  Monsieur  J.  E.  Blanche. 

(258).  Figure  Reading   (Drawing  with  Two  Crayons  on 

Brown  Paper) 
Paris  Catalogue:    Page  68,  No.  124. 

(H.  0,230— L.  0,170) 
Lent  by  Mrs.  Charles  Knowles. 


LIST  OF  PAINTINGS  197 

(259).  Study  of  Nude  (Drawing  with  Two  Crayons) 
Paris  Catalogue:    Page  68,  No.  125. 

(H.  0,230— L.  0,173) 
Lent  by  Mrs.  Charles  Knowles. 

(260).  Draped  Model  (Black  Crayon  and  Pastel  on  Brown 

Paper) 
Paris  Catalogue:    Page  68,  No.  128. 

(H.  0,250— L.  0,170) 
Lent  by  J.  P.  Heseltine,  Esq. 

(261).  Black  and  Red.    The  Egyptian 

Paris  Catalogue:  Page  69,  No.  129. 

(H.  0,287— L.  0,190) 

(262).  Study  of  Nude  (Black  Crayon  and  Pastel) 
Paris  Catalogue:    Page  69,  No.  130. 

(H.  0,250— L.  0,170) 
Lent  by  Mrs.  Charles  Knowles. 

(263).  Venus  Astarte 

Paris  Catalogue:    Page  70,  No.  132. 

(H.  0,268— L.  0,168,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(264).  Venus 

Paris  Catalogue:   Page  70,  No.  133. 

(  H.  0,283— L.  0,182) 
(265).  Youth 

Paris  Catalogue:    Page  70,  No.  134. 

(266).  Draped  Model 

Paris  Catalogue:    Page  70,  No.  135. 

(H.  0,230— L.  0,150) 
Lent  by  J.  P.  Heseltine,  Esq. 

(267).  The  Purple  Iris 

Paris  Catalogue:    Page  71,  No.  137. 

(H.  0,275— L.  0,120,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 


198         THE  WORKS  OF  WHISTLER 

(268.)  "Le  Ruban" 

Paris  Catalogue:    Page  71,  No.  139. 

(H.  0,280— L.  0,185) 
(269).  Bleu  ct  Violet.    La  Jacinthe 

Paris  Catalogue:    Page  72,  No.  141. 

(H.  0,267— L.  0,191) 
(270).  The  Tambourine 

Paris  Catalogue:    Page  72,  No.  142. 

(H.  0,283— L.  0,200) 
(271).  The  Baby's  Promenade 

Paris  Catalogue:    Page  72,  No.  143. 

(H.  0,285— L.  0,190) 
(272).  Mother  and  Child 

Paris  Catalogue:    Page  74,  No.  147. 

(H.  0,280— L.  0,190) 
Lent  by  Madame  Potter-Palmer. 

(273).  The  Shell 

Paris  Catalogue:    Page  74,  No.  148. 

(H.  0,192— L.  0,287) 
Lent  by  Charles  L.  Freer,  Esq. 

(274).  Bead  Stringing 

Paris  Catalogue:   Page  74,  No.  149. 

(H.  0,284— L.  0,190) 
(275).  The  Conversation 

Paris  Catalogue:    Page  75,  No.  150. 

(H.  0,192— L.  0,280) 
(276).  Violet  and  Gold 

Paris  Catalogue:    Page  75,  No.  151. 

(H.  0,190— L.  0,182) 
(277).  Long  Venice 

Paris  Catalogue:    Page  75,  No.  152. 

(H.  0,108— L.  0,270,  inside  the  frame) 
Lent  by  R.  A.  Canfield,  Esq. 


Id 

t 

2        « 

2    3 


a: 

UJ 

I 

UJ 


CL  >o 


LIST  OF  PAINTINGS  199 

(278).  The  Grand  Canal.    Venise 

Paris  Catalogue:    Page  75,  No.  153. 

(H.  0,258— L.  0,158,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(379).  Nocturne.     Venise 

Paris  Catalogue:    Page  76,  No.  154. 

(H.  0,190— L.  0,270,  inside  the  frame) 
Lent  by  R.  A.  Canfield,  Esq. 

(280).  The  Cemetery.    Venice 

Paris  Catalogue:    Page  76,  No.  155. 

(H.  0,155— L.  0,270) 
Lent  by  R.  A.  Canfield,  Esq. 

(281).  Un   Canal.  Venise 

Paris  Catalogue:    Page  76,  No.  156. 

(H.  0,290— L.  0,132) 
Lent  by  R.  A.  Canfield,  Esq. 

(282).  The  Ferry.    Venice 

Paris  Catalogue:    Page  76,  No.  157. 

(H.  0,277— L.  0,128,  inside  the  frame) 
Lent  by  R.  A.  Canfield,  Esq. 

(283).  Venise 

Paris  Catalogue:    Page  77,  No.  158. 
Lent  by  A.  A.  Hannay,  Esq.  (H-  0,300— L.  0,155) 

(284).  Calle.    Venise   (Pastel) 

Paris  Catalogue:    Page  77,  No.  159. 

London  Catalague:    Page  100,  No.  60. 
Lent  by  J.  P.  Heseltine,  Esq.  (H.  10y2— B.  7) 

(285).  A  Street  in  Venice 

Paris  Catalogue:    Page  77,  No.  160. 

(H.  0,285— L.  0,110,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 


200         THE  WORKS  OF  WHISTLER 

(286).  A  Street.    Venice 

Paris  Catalogue:    Page  77,  No.  161. 

(H.  0,255 — L.  0,090,  inside  the  frame) 
Lent  by  R.  A.  Canfield,  Esq. 

(287).  La  Barca.  Venise 

Paris  Catalogue:    Page  78,  No.  162. 

(H.  0,200— L.  0,265) 
(288).  Base  of  a  Tower.    Venice 

Paris  Catalogue:    Page  78,  No.  164. 

(H.  0,290— L.  0,160) 
Lent  by  J.  P.  Heseltine,  Esq. 

(289).  The  Doorway.   Venice 

'Paris  Catalogue:    Page  79,  No.  166. 

(H.  0,275— L.  0,190,  inside  the  frame) 
Lent  by  R.  A.  Canfield,  Esq. 

(290).  Doorway 

Paris  Catalogue:    Page  79,  No.  167. 

(H.  0,273— L.  0,170,  inside  the  frame) 
Lent  by  Charles  L.  Freer,  Esq. 

(291).  Modele  Nu,  debout,  passant  une  robe 
Paris  Catalogue:    Page  79,  No.  168. 

(H.  0,270— L.  0,198) 

(292).  Modele  drape,  couche,  tenant  tm  enfant  dans  ses  bras 
Paris  Catalogue:  Page  80,  No.  169. 

(H.  0,200— L.  0,170) 

(293).  Figure  drapee,  couchee.    Un  enfant  nu  est  couche 

devant  elle 
Paris  Catalogue:    Page  80,  No.  170. 

(H.  0,200— L.  0,270) 

(294).  Modele  drape,  debout  devant  une  balustrade 
Paris  Catalogue:  Page  80,  No.  171. 

(H.  0,270— L.  0,700) 


LIST  OF  PAINTINGS  201 

(295.)  Tete  d'homme  barbu  (Pencil  Sketch) 
Paris  Catalogue:    Page  80,  No.  172. 

(H.  0,070— L.  0,065) 

(296).  Tete  d'homme  barbu  (Pencil  Sketch) 
Paris  Catalogue:  Page  80,  No.  173. 

(H.  0,105— L.  0,075) 
(297).  Croquis 

Paris  Catalogue:    Page  80,  No.  174. 

(H.  0,800— L.  0,075) 
(298).  Croquis  (Pencil) 

Paris  Catalogue:  Page  81,  No.  175. 

(H.  0,140— L.  0,090) 
(299).  Tete  de  petite  fille  (Pencil) 

Paris  Catalogue:    Page  81,  No.  176. 

(H.  0,098— L.  0,058) 
(300).  Tete  d'enfant  (Pencil) 

Paris  Catalogue:  Page  81,  No.  177. 

(H.  0,060— L.  0,050) 

(301).  Une  rue  le  soir  (Pen  and  Wash) 

Paris  Catalogue:    Page  81,  No.  178. 

(H.  0,080— L.  0,090) 
(302).  Old  Houses,  Canterbury 

Paris  Catalogue:    Page  81,  No.  179. 

(H.  0,130— L.  0,090) 
(303).  Doorway:  Ajaccio  (Sepia) 

Paris  Catalogue:    Page  82,  No.  181. 

(H.  0,140— L.  0,  080) 

(304).  Interior:    Ajaccio    (Water-Colour  and   Sepia) 
Paris  Catalogue:    Page  82,  No.  182. 

(H.  0,140— L.  0,080) 
(305).  La  Mule  (Sepia) 

Paris  Catalogue:    Page  82,  No.  183. 

(H.  0,137— L.  0,080) 


202         THE  WORKS  OF  WHISTLER 

(306).  Children:  Ajaccio  (Pencil  Sketch) 
Paris  Catalogue:    Page  83,  No.  185. 

(H.  0,140— L.  0,080) 
(306a).    Street:  Ajaccio  (Pencil) 

Paris  Catalogue:    Page  83,  No.  187. 

(H.  0,137— L.  0,078) 

(307).  Japanese  Figure:   Seated  (Black  and    White  Chalk 

on  Brown  Paper) 
London  Catalogue:    Page  42,  No.  389. 

(H.  ioy2— B.  6%) 

Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(308).  Female  Figure  with  Fan  (Black  and  White  Chalk 

on  Brown  Paper) 
London  Catalogue-'    Page  43,  No.  390. 

(H.   73/4-B.   4%) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(309).  Female  Figure,  Back  (Black  and  White  Chalk  on 

Brown  Paper) 
London  Catalogue:    Page  43,  No.  391. 

(H.  11— B.  6%) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(310).  Female  Figure  with  Fan  (Black  and  White  Chalk 

on  Brown  Paper) 
London  Catalogue:    Page  43,  No.  392. 

(H.  8— B.  5) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(311).  Female  Figure,  Front  (Black  and  White  Chalk  on 

Brown  Paper) 
London  Catalogue:    Page  44,  No.  393. 

(H.  10%-B.  6%) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 


LIST  OF  PAINTINGS  203 

(312).  A  Nude  (Black  and  White  Chalk  on  Brown  Paper) 
London  Catalogue:    Page  44,  No.  394. 

(H.  101/2— B.  7y2) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(313).  Female  Figure,  Hand  on  Rail   (Black  and  White 

Chalk  on  Brown  Paper) 
London  Catalogue:    Page  44,  No.  395. 

(H.   141/2-B.   6%) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(314).  Female  Figure,  Looking  Over  Her  Shoulder  (Black 

and  White  Chalk  on  Brown  Paper) 
London  Catalogue:    Page  44,  No.  396. 

(H.  8— B.  5) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(315).  Female  Figure  in  Flounced  Dress  (Black  and  White 

Chalk  on  Brown  Paper) 
London  Catalogue:    Page  45,  No.  397. 

(H.  121/2— B.  634) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(316).  Lady  with  Fan  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  45,  No.  398. 

(H.  73/4_B.  5) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(317).  Three  Figures,  Pink  and  Grey  (Oil) 
London  Catalogue:    Page  45,  No.  399. 

(H.  551/2— B.  72) 
Lent  by  Alfred  Chapman,  Esq. 

(318).  School  House  on  Fire  (Water-Colour) 
London  Catalogue:    Page  61,  No.  154. 

(H.  5-B.  73/4) 
Lent  by  Mrs.  W.  McNeill  Whistler. 


204         THE  WORKS  OF  WHISTLER 

(319).  Sam  Weller's  Lodging  in  the  Fleet  Prison  (Water- 
Colour) 
London  Catalogue:    Page  61,  No.  155. 

(H.  4V4-B.  6%) 
Lent  by  Mrs.  W.  McNeill  Whistler. 

(320).  Illustrations  to  Sir  Henry  Thompson's  Catalogue  of 
His  Collection  of  Blue  and  White  Nankin  Porce- 
lain, 1878  (Indian  Ink) 

London  Catalogue:    Page  61,  Nos.  156,  157,  158,  159, 
160,  161. 

Lent  by  Pickford  R.  Waller,  Esq. 

(321).  Design  for  Matting  (Black  and  Coloured  Chalk  on 

Brown  Paper) 
London  Catalogue:    Page  62,  No.  162. 

(H.  10%— B.  6%) 
Lent  by  Mrs.  Knowles. 

(322).  Studies  of  Nudes  (Black  and  White  Chalk) 

Three  complete  figures  and  notes  of  heads,  torso, 
etc. 
London  Catalogue:    Page  62,  No.  163. 

(H.  11%— B.  73/4) 
Lent  by  Laurence  W.  Hodson,  Esq. 

(323).  A  Study  (Black  and  White  Chalk  on  Brown  Paper) 
London  Catalogue:    Page  62,  No.  164. 

(H.  9— B.  6%) 
Lent  by  Mrs.  Knowles. 

(324).  A  Female  Figure   (Black    and    White    Chalk    on 

Brown  Paper) 
London  Catalogue:    Page  63,  No.  165. 

(H.  8%— B.  6V4) 
Lent  by  Sir  James  Knowles. 


LIST  OF  PAINTINGS  205 

(325).  Full-Length  Nude    (Pastel    and    Black    Chalk    on 

Brown  Paper) 
London  Catalogue:    Page  63,  No.  166. 

(H.  13— B.  7) 
Lent  by  Sir  James  Knowles. 

(326).  Mother  and  Child   (Black    and    White    Chalk    on 

Brown  Paper) 
London  Catalogue:    Page  63,  No.  167. 

(H.  7-B.  8V2) 
Lent  by  Sir  James  Knowles. 

(327).  Study  of  a  Nude  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  64,  No.  168. 

(H.  10— B.  5V2) 
Lent  by  Sir  James  Knowles. 

(328).  Water  Colour  on  Tinted  Paper 

London  Catalogue:    Page  64,  No.  169. 

(H.  7V4-B.  6) 
Lent  by  Sir  James  Knowles. 

(329).  A  Nude  Figure  (Pastel  and  Black  and  White  Chalk 

on  Brown  Paper) 
London  Catalogue:    Page  64,  No.  170. 

(H.  10%— B.  7y2) 
Lent  by  Sir  James  Knowles. 

(330).  Study  for  Dress  (Pastel) 

London  Catalogue:    Page  64,  No.  171. 

(H.  9%— B.  3%) 
Lent  by  W.  C.  Alexander,  Esq. 

(331).  Maude  Standing  (Black  Chalk  on  Brown  Paper) 
London  Catalogue:    Page  65,  No.  172. 

(H.  101/4— B.  634) 
Lent  by  Thomas  Way,  Esq. 


206         THE  WORKS  OF  WHISTLER 

(332).  Drawing  from  the  Nude,  No.  1  (Chalk  and  Pastel 

on  Brown  Paper) 
London  Catalogue:    Page  65,  No.  173. 

(H.  9y4-B.  6) 
Lent  by  Edmund  Davis,  Esq. 

(333).  Figure  (Pastel  on  Brown  Paper) 

London  Catalogue:    Page  65,   No.  174. 

(H.  10— B.  6) 
Lent  by  Madame  Blanche  Marchesi. 

(334).  Harmony  in  Gold  and  Brown   (Pastel  on   Brown 

Paper) 
London  Catalogue:    Page  65,  No.  175. 

(H.  5%—E.  10) 
Lent  by  Pickford  R.  Waller,  Esq. 

(335).  Souvenir  of  Velasquez   (Black  and  White  Chalk  on 

Brown  Paper) 
London  Catalogue-'    Page  66,  No.  176. 

(H.  6y2_B.  sy4) 

Lent  by  H.  Graves,  Esq. 

(336).  Girl  with  Parasol  (Pen  and  Ink) 

London  Catalogue:    Page  66,  No.  177. 

(H.  6V4-B.  3%) 
Lent  by  G.  R.  Halkett,  Esq. 

(337).  Lady  with  a  Fan  (Pencil  Drawing,  touched  with 

White) 
London  Catalogue:    Page  66,  No.  178. 

(H.  73/4-B.  4V4) 
Lent  by  C.  L.  Rothenstein,  Esq. 

(338).  Studies  in  Lead  Pencil  for  Butterflies  Used  in  the 

Artist's  Publications 

London  Catalogue:    Page  66,  No,  179  and  No.  180. 
Lent  by  H.  J.  Pollitt,  Esq. 


LIST  OF  PAINTINGS  207 

(339).  Portrait  of  Whistler  (Pen  and  Ink  Drawing) 

Study  for  the  full  length  portrait,  exhibited  in  the 
International  Exhibition  in  Paris  in  1900. 
London  Catalogue:    Page  66,  No.  181. 

(H.  4-B.  3y4) 
Lent  by  Joseph  Pennell,  Esq. 

(340).  Pen  Sketch  for  the  Portrait  of  Sarasate 
London  Catalogue:   Page  67,  No.  182. 

(H.  51/4-B.  2%) 
Lent  by  Charles  Morley,  Esq. 

(341).  A  Sleeping  Figure  (Black  Chalk) 
1860  Costume. 
Signed  "Whistler." 
London  Catalogue:   Page  67,  No.  183. 

(H.  9— B.  6V2) 
Lent  by  B.  B.  MacGeorge,  Esq. 

(342).  A  Sleeping  Figure  (Black  Chalk) 
1860  Costume. 
Signed  "Whistler." 
London  Catalogue:    Page  67,  No.  184. 

(9i/4_73/4) 

(343).  Study  for  the  Portrait  of  Carlyle   (Pen,  Ink  and 

Wash) 
London  Catalogue:    Page  67,  No.  185. 

(H.  4— B.  3%) 
Lent  by  T.  Way,  Esq. 

(344).  Figure  Reading  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  67,  No.  186. 

(H.  8y8-B.  6%) 
Lent  by  Mrs.  Knowles. 


208         THE  WORKS  OF  WHISTLER 

(345).  Figure  of  a  Child  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  68,  No.  187. 

(H.  9— B.  7) 
Lent  by  Mrs.  Knowles. 

(346).  Draped  Figure  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  68,  No.  188. 

(H.  10%— B.  6%) 
Lent  by  Mrs.  Knowles. 

(347).  Study  of  a  Nude  (Black  and  White  Chalk  on  Brown 

Paper) 
London  Catalogue:    Page  68,  No.  189. 

(H.  9%-B.  6%) 
Lent  by  Mrs.  Knowles. 

(348).  Nelly  (Pencil  Drawing  on  Blue  Paper) 

1860  Dress. 
London  Catalogue:    Page  68,  No.  191. 

(H.  8— B.   61/4) 
Lent  by  Laurence  W.  Hodson,  Esq. 

(349).  Illustration  to  "The  First  Sermon"  (Proof  of  Wood 
Engraving) 

"Good  Words,"  1862,  engraved  by  Dalziel  Bros. 
London  Catalogue:    Page  69,  No.  192. 

(H.  6-B.  4i/2) 
Lent  by  Harold  Hartley,  Esq. 

(350).  Illustration  to  "The  First  Sermon"  (Proof  of  Wood 
Engraving) 

"Good  Words,"  1862,  engraved  by  Dalziel  Bros. 
London  Catalogue:    Page  69,  No.  193. 

(H.  6— B.  41/2) 
Lent  by  Harold  Hartley,  Esq. 


LIST  OF  PAINTINGS  209 

(351).  The  Morning  Before  the  Massacre  of  St.  Bartholo- 
mew  (Proof  of  Wood  Engraving) 
"Once  a  Week,"  Vol.  VII,  p.  210.     Engraved  by 
Dalziel. 
London  Catalogue:    Page  69,  No.  194. 

(H.  6— B.  4) 
Lent  by  Messrs.  Chatto  and  Windus. 

(352).  Count  Burkhardt  (Proof  of  Wood  Engraving) 

"Once  a  Week,"  Vol.  VII,  p.  378.     Engraved  by 
Swain. 
London  Catalogue:    Page  69,  No.  195. 

(H.  61,4— B.  4) 
Lent  by  Messrs.  Chatto  and  Windus. 

(353).  The  Major's  Daughter.    (Proof  of  Wood  Engraving) 
Signed  "Whistler." 
"Once  a  Week,"  Vol.  VI,  p.  712. 
London  Catalogue:    Page  70,  No.  196. 

(H.  5-B.  4i/4) 
Lent  by  Messrs.  Chatto  and  Windus. 

(354).  The  Relief  Fund  in  Lancashire.      (Proof  of  Wood 
Engraving) 

"Once  a  Week,"  Vol.  VI,  p.  712. 
London  Catalogue:    Page  70,  No.  197. 

(H.  5y2-B.  4) 
Lent  by  Messrs.  Chatto  and  Windus. 

(355).  A  Portrait  (Pencil  Drawing  on  Wood  Block,  Un- 

engraved) 
London  Catalogue:    Page  70,  No.  198. 

(H.  21/2— B.  2V2) 
Lent  by  Joseph  Pennell,  Esq. 


210         THE  WORKS  OF  WHISTLER 

(356).  Study  of  a  Head,  Slight  (Pencil  Drawing  on  Wood, 

Unengraved) 
London  Catalogue:    Page  70,  No.  199. 

(H.  21/4-B.   1%) 
Lent  by  Joseph  Pennell,  Esq. 

(357).  Study  of  a  Head,  No.  2,  Slight  (Pencil  Drawing  on 

Wood  Unengraved) 
London  Catalogue:    Page  70,  No.  200. 

(H.  41/4-6.  2%) 
Lent  by  Joseph  Pennell,  Esq. 

(358).  An  Illustration  on  Wood;  a  Little  Figure  Under  the 

Sea  Gazing  at  a  Fish 
London  Catalogue:    Page  70,  No.  201. 

(H.  2V8-B.   13/4) 
Lent  by  Joseph  Pennell,  Esq. 

(359).  Study  of  a  Girl  in  Bed,  Covered  by  an  Elaborate 

Quilt  on  Which  Sits  a  Monkey 
London  Catalogue:    Page  71,  No.  202. 

(H.  2i/2-B.  4i/4) 
Lent  by  Joseph  Pennell,  Esq. 

(360).  Portrait  of  the    Artist    (Black    and    White    Chalk 

Drawing) 
London  Catalogue:    Page  71,  No.  203. 

(H.  10—  B.  6%) 
Lent  by  Thomas  Way,  Esq. 

(361).  A  Study  (Black  and  White  Chalk  on  Brown  Paper) 
London  Catalogue:    Page  71,  No.  204. 


Lent  by  Mrs.  Knowles.  <H'  7%—  B' 

(363),  Study  of  Nude  Figure  (Pen  Drawing) 
London  Catalogue:    Page  71,  No.  205. 

(H.  41/2—  B.  2) 
Lent  by  William  Heinemann,  Esq. 


LIST  OF  PAINTINGS  211 

(363).  Old  Battersea  Bridge     (Black    and    White    Chalk 

Drawing  on  Brown  Paper) 
London  Catalogue:    Page  71,  No.  206. 

Lent  by  H.  J.  Pollitt,  Esq.  (H-   6%— B-   1Q1/2) 

(364).  A  Frame  of  Ten  Early  Pencil  Sketches  Which  Were 
Given  to  His  Niece,  Mrs.  Thynne,  by  Whistler, 
After  She  Had  Posed  for  Him  as  a  Child 

London  Catalogue:    Page  72,  No.  207. 
Lent  by  Mrs.  Charles  Thynne. 

(365).  The  Widow  (Oil) 

London  Catalogue:    Page  75,  No.  1. 

(H.  22— B.  17)' 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(366).  Nocturne,  Blue  and  Gold,  St.  Mark's  (Oil) 
London  Catalogue:    Page  75,  No.  2. 

(H.  171/2— B.  23y2) 
Lent  by  John  J.  Cowan,  Esq. 

(367).  Sea  and  Rain  (Oil) 

Signed  "Whistler,  '65." 
London  Catalogue:    Page  75,  No.  3. 

(H.  19%— B.  28V2) 
Lent  by  Alexander  Young,  Esq. 

(368).  Girl  with  a  Red  Feather  (Oil) 

London  Catalogue:    Page  75,  No.  4. 

(H.   19— B.   11) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(369).  Arrangement  in  Grey  and  Black,  Thomas  Carlyle 

(Oil) 
London  Catalogue:    Page  76,  No.  5. 

(H.  67— B.  56)] 
Lent  by  the  Glasgow  Corporation. 


212         THE  WORKS  OF  WHISTLER 

(370).  Girl  in  Black  (Oil) 

London  Catalogue:    Page  76,  No.  6. 
Lent  by  Monsieur  X.  (H.  19— B.  11) 

(371).  Symphony  in  White,  No.  3  (Oil) 

Signed:     "Symphony  in  White,  No.  3,  Whistler, 
j  1867." 

London  Catalogue:    Page  77,  No.  7. 
Lent  by  Edmund  Davis,  Esq.  (H.  191/4— B.  29) 

(372).  The  Little  Blue  Bonnet,  Blue  and  Coral  (Oil) 

London  Catalogue:    Page  77,  No.  8. 

(Oval,  H.  22%— B.  17— sight  measurement) 
(H.  231/2— B.  18*4,  without  the  frame) 
Lent  by  William  Heinemann,  Esq. 

(Sold  to  Mr.  William  Macbeth,  August  31,  1906.) 

(373).  Portrait  of  Monsieur  Theodore  Duret,  Writer  on 

Art  (Oil) 

London  Catalogue:    Page  78,  No.  10. 
Lent  by  Monsieur  Theodore  Duret.  (H.  72 — B.  32%) 

(374).  Nocturne,   Blue  and   Gold,   Old   Battersea   Bridge 

(Oil) 

London  Catalogue:    Page  79,  No.  12. 
Lent  by  Robert  H.  C.  Harrison,  Esq.  (H.  26— B.  193,4) 

(375.)  Whistler  in   His  Studio  (Oil) 

London  Catalogue:    Page  79,  No.  13. 
Lent  by  Douglas  Freshfield,  Esq.  .(H.  23— B.  17%) 

(376).  The  Artist's  Studio  (Oil) 

Another  version  of  No.  375. 
London  Catalogue:    Page  80,  No.  15. 
Lent  by  the  City  of  Dublin  Gallery.  (H.  23i/2— B.  18) 


LIST  OF  PAINTINGS  213 

(377).  Blue  and  Gold,  Valparaiso,  Nocturne  (Oil) 
London  Catalogue:    Page  80,  No.  16. 

(H.  291/2— B.  19i/2) 
Lent  by  George  McCulloch,  Esq. 

Mr.  McCulloch  writes,  July,  1906,  that  he  still  owns  this 
picture. 

(378).  Brown  and  Silver,   Old  Battersea  Bridge  (Oil) 
London  Catalogue:    Page  81,  No.  17. 

(H.  24y2— B. 
Lent  by  Edmund  Davis,  Esq. 

(379).  Brown  and  Gold,  Lillie  in  Our  Alley  (Oil) 

London  Catalogue:    Page  81,  No.  18. 

(H.  20— B. 
Lent  by  John  J.  Cowan,  Esq. 

(380).  Lilian,  Daughter  of  E.  G.  Woakes,  Esq.,  M.D.  (Oil) 
London  Catalogue:    Page  82,  No.  20. 

(H.   20—13^) 
Lent  by  E.  G.  Woakes,  Esq.,  M.D. 

(381).  Cremorne,  No.  1  (Oil) 

London  Catalogue:    Page  82,  No.  21. 

(H.  19M>— B.  30) 
Lent  by  Mrs.  Alexander  Argenti. 

(382).  Study  in  Brown  (Oil) 

London  Catalogue:    Page  83,  No.  22. 

(H.  20— B.  12) 
Lent  by  Baroness  de  Meyer. 

(383).  Cremorne  Gardens,  No.  2  (Oil) 

London  Catalogue:    Page  84,  No.  25. 

(H.  25— B.  51) 
Lent  by  T.  R.  Way,  Esq. 


214         THE  WORKS  OF  WHISTLER 

(384).  Arrangement  in  Black,  No.  3,  Portrait  of  Sir  Henry 
Irving  as  Philip  II.  of  Spain  (Oil) 
Owned  by  Mr.  Thomas,  of  Philadelphia,  Pa. 
London  Catalogue:    Page  85,  No.  27. 

(H.  81— B.  41) 
Lent  by  Sir  Henry  Irving. 

(385).  The  Girl  in  Red  (Oil) 

London  Catalogue:    Page  85,  No.  28. 

(H.  193,4— B.  12) 
Lent  by  the  Executors  of  the  late  J.  Staats  Forbes,  Esq. 

(386).  Portrait  of  the  Artist  (Oil) 

London  Catalogue:    Page  86,  No.  30. 

(H.  291/2— B.  21) 
Lent  by  George  McCulloch,  Esq. 

Mr.  McCulloch  writes,  July,  1906,  that  he  still  owns  the 
picture. 

(387).  Nocturne,  Blue  and  Green  (Oil) 

London  Catalogue:    Page  86,  No.  31. 

(H.  18V2— B.  231,4) 
Lent  by  W.  C.  Alexander,  Esq. 

Mr.  Alexander  writes  that  the  date  of  this  Nocturne  is  1874 
or  1875. 

(388).  Trafalgar  Square,  Chelsea  (Oil) 

London  Catalogue:    Page  88,  No.  33. 

Lent  by  J.  W.  Martin  White,  Esq.  (H.   18— B.   2  >  ^ 

Mr.  White  writes  that  this  picture  was  bought  by  him  "three 
or  four  years  ago"  from  Agnews,  and  formerly  belonged  to 
Albert  Moore. 

(389).  The  Violinist 

London  Catalogue:    Page  88,  No.  34. 

(H.  30— B.  19V2) 
Lent  by  Monsieur  Z. 


LIST  OF  PAINTINGS  215 

(390).  Nocturne,  Blue  and  Gold  (Oil) 

London  Catalogue:    Page  89,  No.  36. 

Lent  by  the  Hon.  Percy  Wyndham.  (H.   18—  B.  24) 

The  Honorable  Percy  Wyndham  writes  concerning  this  pic- 
ture that  it  was  painted  in  1871  or  1872,  that  it  was  bought  in 
1872  or  1874,  and  that  it  was  wrongly  listed  in  the  London 
Catalogue  as  "Nocturne,  Blue  and  Silver." 

(391).  Arrangement  in  Grey  and  Gold,  Nocturne,  Battersea 

Bridge  (Oil) 

London  Catalogue:    Page  90,  No.  38. 
Lent  by  Mrs.  Flower.  (H.  18—  B.  23^) 

(392).  Pink  and    Rose:      The    Mother's    Sleep      (Water- 

Colour) 

London  Catalogue:  Page  93,  No.  39. 
Lent  by  John  J.  Cowan,  Esq.  (H.  7—  B.  I0y2) 

(393).  Design  for  a  Mosaic  (Pastel) 

London  Catalogue:    Page  93,  No.  40. 
Lent  by  W.  Graham  Robertson,  Esq.          (H.   lO^—  B.   6i/2) 

(394).  Nude  Figure  and  Cupid  (Water-Colour) 

London  Catalogue:    Page  93,  No.  41. 
Lent  by  Madame  la  Comtesse  de  Beam.  (H.  10  —  B.  7) 

(395).  Sea  (Water-Colour) 

London  Catalogue:    Page  94,  No.  43. 
Lent  by  Mrs.  A.  M.  Jarvis.  (H.  ±%—  B. 


(396).  Rose  et  Vert;  L'Iris:  Portrait  of  Miss  Kinsella  (Oil) 

London  Catalogue:    Page  94,  No.  44. 
Lent  by  Miss  Kinsella.  (H.  74—  B.  34) 


216         THE  WORKS  OF  WHISTLER 

(397).  The    Salute,    Venice,    from    the    Riva    Schiavoni 

(Water-Colour) 
London  Catalogue:    Page  95,  No.  45. 

(H.  5V4-B.  8%) 
Lent  by  B.  B.  MacGeorge,  Esq. 

(398).  Venice  (Pastel) 

London  Catalogue:    Page  95,  No.  46. 

(H.  63,4— B.  11) 
Lent  by  Madame  Blanche  Marchesi. 

(399).  Study  of  Mrs.  Leyland  (Pastel  on  Brown  Paper) 
London  Catalogue:    Page  95,  No.  47. 

(H.  10— B.  6y2) 
Lent  by  Thomas  Way,  Esq. 

(400).  The  Convalescent  (Water-Colour) 

London  Catalogue:    Page  96,  No.  48. 

(H.  9y2-B.  6y4) 
Lent  by  Dr.  John  W.  Maclntyre. 

(401).  Sea  Beach  and  Figures  (Pastel) 

London  Catalogue:    Page  96,  No.  49. 

(H.  5V2— B.  10V2) 
Lent  by  Sir  William  Eden,  Bart. 

(402).  Nocturne,  Cremorne  Gardens,  No.  3  (Oil) 
London  Catalogue:    Page  96,  No.  50. 

(H.  17— B.  24) 
Lent  by  C.  Conder,  Esq. 

(403).  Arrangement  in  Grey,  Portrait  of  Master  Stephen 

Manuel  (Oil) 
London  Catalogue:    Page  97,  No.  51. 

(H.  19%— B.  14i/2) 
Lent  by  Mrs.  Manuel. 


LIST  OF  PAINTINGS  217 

{404).  Bead  Stringers,  Venice  (Pastel) 

London  Catalogue:    Page  97,  No.  52. 

(H.  lOi^— B.  4) 
Lent  by  Thomas  Way,  Esq. 

(405).  Arrangement  in  Black,  No.  2,  Portrait  of  Mrs.  Louis 

Huth  (Oil) 
London  Catalogue:    Page  97,  No.  53. 

(H.  75— B.  39) 
Lent  by  Louis  Huth,  Esq. 

(406).  Marble  Palace,  Venice  (Pastel) 

London  Catalogue:    Page  98,  No.  54. 

(H.  11— B.  5^4) 
Lent  by  Thomas  Way,  Esq. 

(407).  A  Harmony  in  Blue  and  Silver  (Oil) 
London  Catalogue:    Page  98,  No.  55. 

(H.  5— B.  8y2) 
Lent  by  His  Honour  Judge  Evans. 

(408).  A  Venetian  Water  Gate  (Pastel  on  Brown  Paper) 
London  Catalogue:    Page  98,  No.  56. 

(H.  11-B.  7y4) 
Lent  by  Lord  Battersea. 

(409).  Belle  a  jour,  Blue  and  Violet  (Oil) 
London  Catalogue:    Page  99,  No.  57. 

(H.  6y2— B.  4) 

Lent  by  Madame  Blanche  Marchesi. 

(410).  Study  of  a  Girl's  Head  and  Shoulders  (Oil) 

London  Catalogue:    Page  99,  No.  58. 
Lent  by  Baroness  de  Meyer.  (H.  6 — B.  3) 

(411).  The  Shop  Window  (Oil) 

London  Catalogue:    Page  99,  No.  59. 
Lent  by  A.  Arnold  Hannay,  Esq.  (H.  4%— B.  8y2) 


218         THE  WORKS  OF  WHISTLER 

(412).  A  Venetian  Courtyard  (Pastel) 

London  Catalogue:    Page  100,  No.  61. 
Lent  by  Lord  Battersea.  (H.  11%— B. 

(413).  Nocturne  in  Green  and  Gold,  The  Falling   Rocket 

(Oil) 
London  Catalogue:    Page  100,  No.  62. 

(H.  25— B.  30,  outside  the  frame) 
Lent  by  William  Heinemann,  Esq. 

Now  owned  by  the  Metropolitan  Museum  of  Art. 
The  only  title  on  the  back  of  the  canvas  is  "Nocturne  in 
Green  and  Gold"  with  the  butterfly  monogram  below  it  at  the 
right.  The  added  title,  "The  Falling  Rocket,"  which  is  given 
in  the  London  Catalogue,  is  probably  wrong  as  no  rocket  ap- 
pears in  the  picture. 

(414).  Annabel  Lee  (Pastel) 

London  Catalogue:    Page  101,  No.  63. 

(H.   121/2— B.   6i/2) 
Lent  by  Thomas  Way,  Esq. 

(415).  The  Sea,  Pourville  (Oil) 

London  Catalogue:    Page  101,  No.  64. 

(H.  4-B.  6i/2) 
Lent  by  A.  Arnold  Hannay,  Esq. 

(416).  Portrait  of  Mrs.  Louis  Jarvis  (Oil) 

London  Catalogue:    Page  101,  No.  65. 
Lent  by  Mrs.  A.  M.  Jarvis.  (H.  23y2— B.  16) 

(417).  In  the  Channel  (Water-Colour) 

London  Catalogue:    Page  101,  No.  66. 
Lent  by  Mrs.  Knowles. 

(418).  Battersea  (Water-Colour) 

London  Catalogue:    Page  102,  No.  67. 

(H.  33/g-B.  4S/4) 
Lent  by  Sir  William  Eden,  Bart. 


LIST  OF  PAINTINGS  219 

(419).  Grey  and  Silver,  Chelsea  Wharf  (Oil) 
London  Catalogue:    Page  102,  No.  69. 

(H.  23V2-B.  17%) 
Lent  by  P.  A.  B.  Widener,  Esq. 

(420).  Little  Nude  (Pastel) 

London  Catalogue:    Page  103,  No.  70. 

(H.  10—  B.  5) 
Lent  by  Thomas  Way,  Esq. 

(421).  An  Arrangement  in  Black  (Oil) 

London  Catalogue:    Page  103,  No.  71. 

(H.  »tf-B.  7) 
Lent  by  Alexander  Henderson,  Esq. 

(422).  Dieppe  (Oil) 

London  Catalogue:    Page  104,  No.  72. 

(H.  4V2-B.  8) 
Lent  by  Douglas  Freshfield,  Esq. 

(423).  The  Purple  Cap  (Pastel) 

London  Catalogue:    Page  104,  No.  73. 

(H.  101/2—  B.  6i/4) 
Lent  by  Thomas  Way,  Esq. 

(424).  Study  for  the  Head  of  Miss  Cicely  H.  Alexander 

(Oil) 
London  Catalogue:    Page  104,  No.  74. 

Lent  by  Alexander  Reid,  Esq.  (H.   10—  B. 


(425).  At  the  Piano  (Oil) 

London  Catalogue:    Page  105,  No.  75. 
Lent  by  Edmund  Davis,  Esq.  (H.  26—  B.  35%) 

(426).  Portrait  of  a  Baby  (Oil) 

London  Catalogue:    Page  105,  No.  76. 
Lent  by  Brandon  Thomas,  Esq.  (H.   19%—  B.   11%) 


220         THE  WORKS  OF  WHISTLER 

(427).  Note  in  Red  and  Violet  (Oil) 

London  Catalogue:    Page  105,  No.  77. 

(H.  4V2— B.  8) 
Lent  by  Miss  Constance  Halford. 

Miss  Constance  Halford  writes  that  she  thinks  this  picture 
was  painted  at  St.  Ives,  in  Cornwall. 

(428).  The  Base  of  the  Tower,  Venice  (Pastel) 
London  Catalogue:    Page  106,  No.  78. 
French  Catalogue:     Page  78,  No.  164  (  ?). 

(H.   1U/2-B.   6%) 
Lent  by  J.  P.  Heseltine. 

No  doubt  the  same  picture,  although  the  measure- 
ments in  the  two  catalogues  differ  slightly. 

(429).  The  Blue  Girl  (Pastel  on  Brown  Paper) 
London  Catalogue:    Page  106,  No.  79. 

(H.   101/2— B.   6%) 
Lent  by  Madame  Blanche  Marchesi. 

(430).  Variations  in  Violet  and  Green  (Oil) 
London  Catalogue:    Page  107,  No.  81. 

(H.  231/2— B.  12V2) 
Lent  by  Sir  Charles  McLaren,  Bart. 

(431).  Draped  Model  (Black  and  White  Chalk  on  Brown 

Paper) 

London  Catalogue:    Page  107,  No.  82. 
Lent  by  Mrs.  Knowles.  (H.   103/8— B.  6%) 

(432).  The  Beach  (Water-Colour) 

London  Catalogue:    Page  108,  No.  85. 
Lent  by  Mrs.  Knowles.  (H.  8i/8— B.  4%) 

(433).  Landscape  (Oil) 

London  Catalogue:    Page  108,  No.  86. 
Lent  by  Alexander  Young,  Esq.  (H.  11%— B.  24) 


LIST  OF  PAINTINGS  221 

(434).  Study  of  Rosettes   (Black  and  Coloured  Chalk  on 

Brown  Paper) 
London  Catalogue:    Page  108,  No.  87. 

H.  11— B.  7) 
Lent  by  Mrs.  Knowles. 

(435).  Portrait  of  L.  A.  lonides,  Esq.  (Oil) 
London  Catalogue:    Page  109,  No.  89. 

(H.  151/2— B.  n%) 
Lent  by  L.  A.  lonides,  Esq. 

(436).  Nocturne,  Chelsea  Rags  (Oil) 

London  Catalogue:    Page  109,  No.  90. 

(H.  14— B.  20) 
Lent  by  John  J.  Cowan,  Esq. 

(437).  On  the  Thames  at  Chelsea  (Pastel) 
London  Catalogue:    Page  109,  No.  91. 

(H.  101/2— B.  61,4) 
Lent  by  W.  C.  Alexander,  Esq. 

Mr.  Alexander  writes  that  the  date  of  this  picture  is  1874 
or  1875. 

(438).  The  Isles  of  Venice  (Pastel) 

London  Catalogue:    Page  110,  No.  92. 

(H.  2— B.  10i/2) 
Lent  by  W.  Baptiste  Scoones,  Esq. 

(439).  The  General  Dealer  (Oil) 

London  Catalogue:    Page  110,  No.  94. 

(H.  41/2-B.  8i/4) 
Lent  by  John  J.  Cowan,  Esq. 

(440).  The  Lily  (Pastel) 

London  Catalogue:    Page  111,  No.  95. 

(H.  131/2— B.  9) 
Lent  by  W.  Bernard  Knobel,  Esq. 


222         THE  WORKS  OF  WHISTLER 

(441).  Portrait  Sketch  of  F.  R.  Leyland  (Oil) 
London  Catalogue:    Page  111,  No.  97. 

(H.  14— B. 
Lent  by  Charles  Conder,  Esq. 

(442).  Seated  Figure  (Pastel) 

London  Catalogue:    Page  112,  No.  99. 

(H.  7V2-B.  5) 
Lent  by  Thomas  Way,  Esq. 

(443).  Portrait  of  F.  R.  Leyland,  Esq.  (Oil) 
London  Catalogue:    Page  113,  No.  100. 

(H.  72— B.  34) 
Lent  by  Mrs.  Val  Prinsep. 

(444).  A  Freshening  Breeze  (Oil) 

London  Catalogue:     Page  113,  No.  101. 

(H.  81/2— B.  5) 
Lent  by  John  G.  Ure,  Esq. 

(445).  Rose  and  Red:    The  Barber's  Shop  at  Lyme-Regis 

(Oil) 
London  Catalogue:    Page  113,  No.  102. 

(H.  41/2— B.  8) 
Lent  by  Humphrey  Roberts,  Esq. 

Mr.  Roberts  writes,  July,  1906:  "I  have  parted  with  the 
picture  to  Messrs.  Wm.  Marchant  &  Co.,  5  Regent  Street, 
London. 

(446).  Portrait  of  Dr.  William  McNeill  Whistler  (Oil) 
London  Catalogue:    Page  114,  No.  103. 

(H.  17— B.  14) 
Lent  by  Mrs.  W.  McNeill  Whistler. 

(447).  The  Seashore  (Oil) 

London  Catalogue:    Page  114,  No.  104. 

(H.  33/8-B. 
Lent  by  Sir  William  Eden,  Bart. 


LIST  OF  PAINTINGS  223 

(448).  A  Canal,  Venice  (Water-Colour) 

London  Catalogue:    Page  114,  No.  105. 
Lent  by  B.  B.  MacGeorge,  Esq.  (H.  8%— B.  5*4) 

(449).  Brown  and  Gold,  The  Cure's  Little  Class  (Oil) 

London  Catalogue:    Page  115,  No.  106. 
Lent  by  John  J.  Cowan,  Esq.  (H.  4%— B.  8*4) 

(450).  Petite  bonne  a  la  porte  d'une  Auberge  (Oil) 

London  Catalogue:    Page  115,  No.  107. 
Lent  by  Mrs.  H.  S.  Schwann.  (H.  S%— B.  ±%) 

(451).  Portrait  of  Miss  Yvonne  Forster  (Black  and  White 

Chalk  on  Brown  Paper) 
London  Catalogue:    Page  115,  No.  108. 
Lent  by  Miss  A.  E.  Forster.  (H.  8y8— B. 

(452).  Souvenir  of  the  Gaiety  (Pastel) 

London  Catalogue:    Page  116,  No.  110. 
Lent  by  Sir  William  Eden,  Bart.  (H.  43/8— B. 

(453).  Baby  Leyland  (Pastel  on  Brown  Paper) 
London  Catalogue:    Page  116,  No.  111. 
Lent  by  Thomas  Way,  Esq.  (H.  10— B.  6y2) 

(454).  A  Little  Red  Note,  Dordrecht  (Water-Colour) 

London  Catalogue:    Page  119,  No.  112. 
Lent  by  W.  Bryant,  Esq.  (H.  4%— B.  8y2) 

(455).  Three  Drawings  in  One  Frame    (Pastel  on   Grey 
Paper) 

o.  Model    leaning    forward,    full    length,    lightly 
draped,  looking  to  right.  (H.  9 — B.  6) 

b.  Portrait  of  the  Artist  (Black  Chalk  on  Brown 
Paper).  (H.  6— B.  5y2) 

c.  Model  with  Flowers  (Pastel  and  Chalk). 

(H.  93,4— B. 

London  Catalogue:    Page  119,  No.  113. 
Lent  by  J.  P.  Heseltine,  Esq. 


224         THE  WORKS  OF  WHISTLER 

(456).  A  Grey  Note  (Body  Colour) 

London  Catalogue:    Page  120,  No.  114. 

(H.  6— B.  10%) 
Lent  by  Mrs.  Knowles. 

(457).  Study  for  Dress  (Pastel) 

London  Catalogue:    Page  120,  No.  115. 

(H.  9%-B.  5%) 
Lent  by  W.  C.  Alexander,  Esq. 

Mr.  Alexander  writes  that  this  was  drawn  in  1875. 

(458).  Design  for  a  Fan  (Water-Colour) 

London  Catalogue:    Page  120,  No.  116. 

(H.  61/2— extreme  B.  19^) 
Lent  by  C.  H.  Shannon,  Esq. 

(459).  Diana  at  the  Pool  (Oil) 

Copy  of  a  picture  in  the  Louvre  by  Boucher. 
London  Catalogue:    Page  120,  No.  117. 

(H.  23— B.  27) 
Lent  by  Louis  W.  Winans,  Esq. 

(460).  Blue  and  Gold  (Pastel) 

London  Catalogue:    Page  121,  No.  118. 

(H.  11— B.  43,4) 
Lent  by  Mrs.  Knowles. 

(461).  Venice  (Pastel) 

London  Catalogue:    Page  121,  No.  119. 

(H.  9%-B.  7) 
Lent  by  Laurence  W.  Hodson,  Esq. 

(462).  Maude  Reading,  in  a  Hammock  (Water-Colour) 
London  Catalogue:    Page  121,  No.  120. 

(H.  5V4-B.  8%) 
Lent  by  G.  H.  Buck,  Esq. 


LIST  OF  PAINTINGS  225 

(463).  St.  Ives,  Cornwall  (Water-Colour) 

London  Catalogue:    Page  122,  No.  121. 
Lent  by  Thomas  Way,  Esq.  (H.  6%— B.  4%) 

(464).  Nocturne,  Valparaiso,      Silver    and    Gold    (Water- 
Colour) 

London  Catalogue:    Page  122,  No.  122. 
Lent  by  G.  N.  Stevens,  Esq.  (H.  S%— B.  6i/2) 

(465).  Study  for  the  Peacock  Room  (Pencil  Drawing) 

London  Catalogue:    Page  122,  No.  123. 
Lent  by  A.  Ludovici,  Esq.  (H.  6%— B.  6i/2) 

(466).  Benedictine  Monks,  a  Very  Early  Sketch  (Pen  and 

Pencil) 

London  Catalogue:    Page  122,  No.  124. 
Lent  by  Mrs.  W.  McNeill  Whistler. 

(467).  Girl  Reading  (Pen  Sketch) 

London  Catalogue:    Page  123,  No.  126. 
Lent  by  William  Heinemann,  Esq.  (H.  6— B.  4%) 

(468).  Two  Sketches  in  One  Frame  (Pen  Drawing) 

Illustrations  for  "Thoughts  at  Sunrise,"  a  song  by 
Mrs.  Moncrieff. 

(a).  The  sun  is  rising  over  a  great  lake,  sprays  of 
blossom  and  waving  grass  to  right. 

t  (H.  63/4_B.  4y4) 

(&).  The  sun  is  rising  over  a  great  plain,  a  flight  of 
birds  from  it  toward  the  zenith.     Blossoming  boughs 
and  waving  grass  to  right. 
London  Catalogue:    Page  123,  No.  127. 
Lent  by  Mrs.  Moncrieff.  (H.  6%— B.  4%)' 

(469).  La  Toilette  (Pen  Drawing  on  Blue  Paper) 

London  Catalogue:     Page  124,  No.  128. 
Lent  by  Madame  Blanche  Marchesi.  (H.  6% — B. 


226         THE  WORKS  OF  WHISTLER 

(470).  Selsea  Bill  (Water-Colour) 

London  Catalogue:    Page  124,  No.  129. 
Lent  by  B.  B.  MacGeorge,  Esq.  (H.  8y2— B.  13) 

(471).  A  Marine  Sunset  (Water-Colour) 

London  Catalogue:    Page  124,  No.  130. 
Lent  by  Thomas  Way,  Esq.  (H.  5— B.  6ya) 

(472).  Pencil  Drawing  of  Baby 

London  Catalogue:    Page  125,  No.  138. 
Lent  by  LI.  J.  W.  Bebb,  Esq. 

(473).  Honfleur,  Grey  and  Silver  (Water-Colour) 

London  Catalogue:    Page  125,  No.  139. 
Lent  by  Professor  Emil  Sauer.  (H.  8— B.  4%) 

(474).  Crepuscule  in  Opal,  Trouville  (Oil) 

London  Catalogue:    Page  125,  No.  140. 
Lent  by  Frederick  Jameson,  Esq.  (H.  13 — B.  18) 

(475).  La  Note  Rouge  (Oil) 

London  Catalogue:    Page  126,  No.  142. 

(H.  S%— B.  113,4) 
Lent  by  Sir  George  A.  Drummond,  K.C.B. 

(476).  Drawing    of    Elderly    Woman,    with    Inscription 

"James  to  Aunt  Kate,  1844" 
(Whistler:     Theodore  Duret,  page  1,  reproduction.) 

(477).  Sketch  of  Miss  Grace  Alexander 

(Whistler:    Theodore  Duret,  page  34,  mention;  page 
111,  illustration.) 

'(478).  Sketch    for    Portrait    of    Miss    Alexander    [Agnes 

Mary]  Full  Length 
(Whistler:    Theodore  Duret,  page  37,  reproduction.) 

(479).  Sketch    for    Portrait    of    Miss    Alexander    [Agnes 

Mary]  Half  Length 
(Whistler:    Theodore  Duret,  page  38,  reproduction.) 


LIST  OF  PAINTINGS  227 

(480).  Copy  of  the  Andromeda  by  Ingres  (Oil) 

(Exhibited  at  the  Keppel  Galleries  in  New  York  in 
1905.) 

(481).  Harmony  in  Blue  and  Gold: 
The  Peacock  Room  (Oil) 

(Exhibited  at  Messrs.  Obach's  Galleries,  London, 
June,  1904.) 

(482).  Portraits  of  Fanny,  Florence  and  Elinor     Ley  land 

(in  Oil,  unfinished) 
(Whistler:    Theodore  Duret,  page  48,  mention.) 

(483).  Portrait  of  Florence  Leyland  (Ink) 

(Whistler:    Theodore  Duret,  page  53,  reproduction.) 

(484).  Harmony  in  Grey  and  Rose:  Portrait  of  Lady  Meux 

(Whistler:    Theodore  Duret,  page  95,  mention;  page 
102,  reproduction.) 

(485).  Arrangement  in  Black  and  White:  Portrait  of  Lady 
Meux 

(Exhibited  at  the  Salon  of  1882.  In  the  Salon  Cat- 
alogue it  is  wrongly  listed  as  Portrait  of  M.  Harry 
'Men.  Also  reproduced  in  Duret's  Whistler,  facing 
page  152.) 

(486).  Portrait  of  Lady  Archibald  Campbell   (now  called 
The  Lady  with  the  Yellow  Buskin) 
(In  the  W.  P.  Wilstach  Collection,  Philadelphia,  Pa.) 

(487).  Sketch  for  Unexecuted  or  Destroyed  Picture 

(Whistler:    Theodore  Duret,  page  6,  reproduction.) 

(488).  Portrait  of  Lady  Colin  Campbell,  Harmony  in  Ivory 
White  (Oil) 
(Exhibited  at  the  Society  of  British  Artists  in  1886.) 

(489).  Portrait  of   Mrs.  Walter  Sickert,  Arrangement  in 
Violet  and  Rose  (Oil) 
(Exhibited  at  the  Society  of  British  Artists  in  1887.) 


228         THE  WORKS  OF  WHISTLER 

(490).  Miss  Connie  Gilchrist 

(Listed  in  Whistler:    By  H.  W.  Singer,  No.  32.) 

(491).  Purple  and  Gold:  Phryne  the  Superb,  Builder  of 
Temples 
(Exhibited  at  the  Albright  Gallery,  Buffalo,  1905.) 

(492).  Die  Lange  Leizen,  of  the  Six  Marks 

(Exhibited  at  the  Royal  Academy,  1864.) 
Now  in  the  John  G.  Johnson  collection. 

(493).  Wapping 

(Exhibited  at  the  Royal  Academy,  1864.) 

(494).  Alone  with  the  Tide  (Oil) 

(Exhibited  at  the  Royal  Academy,  1862.) 

(495).  Harmony  in  Amber  and  Black 

(Exhibited  at  the  Grosvenor  Gallery,  1877.) 

(496).  Arrangement  in  Black  and  White,  No.  1,  L'Ameri- 
caine 

(Exhibited  at  the  Grosvenor  Gallery,  1878,  and  at 
the  Comparative  Exhibition  of  Native  and  Foreign 
Art,  New  York,  1904.) 

(497).  Arrangement  in  Yellow  and  Gray 

(Amsterdam  Museum.) 

(498).  Portrait  of  Lady  E.,  Brown  and  Gold 

(Exhibited  at  the  Champs  de  Mars,  1894.) 

(499).  Gold  and  Orange:  The  Neighbour 

(Exhibited  at  the  International  Society  of  Sculp- 
tors, Painters  and  Gravers,  1901.) 

(500).  Arrangement  in  Flesh  Colour  and  Red 

(Whistler:   Theodore  Duret,  page  157,  reproduction.) 

(501)*.  Pen  and  Ink  Sketch.  Girl's  Head  in  Profile 

(Whistler:    Theodore  Duret,  page  167,  reproduction.) 


LIST  OF  PAINTINGS  229 

(SOS).  Study  in  India  Ink,  a  Head 

(Whistler:    Theodore  Duret,  page  198,  reproduction.) 

(503).  Sketch 

(Whistler:   Theodore  Duret,  last  page,  reproduction.) 

(504).  Symphony  in  Grey — Early  Morning,  Thames 

(Exhibited  at  the  Comparative  Exhibition  of  Na- 
tive and  Foreign  Art,  New  York,  1904.) 

(505).  Southend,  The  Pleasure  Yacht  (Water-Colour) 

(The  Art  of  J.  McNeill  Whistler:      T.  R.  Way  and 
G.  R.  Dennis,  page  96.) 

(506).  London  Bridge  (Water-Colour) 

(The  Art  of  J.  McNeill  Whistler:      T.  R.  Way  and 
G.  R.  Dennis,  page  96.) 

(507).  The  Ermine  Coat  (Pastel?) 

(Exhibited  at  the  Goupil  Gallery,  1904.) 

(508).  Mrs.  Leyland,  Seated,  Back  (Pen  and  Ink) 

(Whistler:    Theodore  Duret,  page  131,  reproduction.) 

(509).  Pen  and  Ink  Sketch  of  Woman  Standing 

(Whistler:    Theodore  Duret,  page  147,  reproduction.) 

(510).  St.  Paul's:  (Pen  and  Ink.)  "The  feather  end  of  the 

quill  pen  was  used  as  a  brush  for  the  washes." 
(Whistler  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  23.) 

(510a).  The  Lady  in  Grey  (Body-Colour) 

A  standing  figure  dressed  in  grey,  against  a  very 
dark  grey  background.  A  large  hat  in  the  right  hand. 
Butterfly  more  than  a  third  of  the  way  up,  on  the 
right. 

(Owned  by  the  Metropolitan  Museum  of  Art.) 

(H.  10#— B.  4#.) 


230          THE  WORKS  OF  WHISTLER 

(511)  Lady  Meux  (Pen  and  Ink) 

(W 'his tier  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  20.) 

(512).  A  Bye  Canal,  Venice  (Pastel) 

(Whistler  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  26.) 

(513).  Dorothy  Menpes  (Oil) 

(Whistler  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  44.) 

(514).  Master  Menpes  (Oil) 

(Whistler  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  88.) 

(515).  A  Study  in  Rose  and  Brown  (Oil) 

(Whistler  as  I  Knew  Him:    Mortimer  Menpes.    Fac- 
ing page  128.) 

(516).  Pen  and  Ink  Sketch  for  the  Portrait  of  Lady  Meux 
in  Grey  and  Rose:  (Signed  Twice  with  the  Butter- 
fly.) 

(In  the  possession  of  Howard  Mansfield,  Esq.) 

(517).  Small  Drawing  of  a  Woman's  Figure  (Nude) 
(In  the  possession  of  the  Baroness  de  Meyer.) 

(518).  Small  Sea-scape  of  the  Dieppe  Beach 

(In  the  possession  of  the  Baroness  de  Meyer.) 

(519).  Mother  and  Child:  Pastel;  Date,  1885 

(In  the  possession  of  William  Burrell,  Esq.) 

(520).  Drawing  in  Ink  or  Sepia,  1851  or  1852 

A  fiddler  is  playing  while  a  number    of    men    are 
dancing  and  others  look  on. 

(In  the  possession  of  Miss  Mary  Park.) 


LIST  OF  PAINTINGS  23 1 

(521).  Drawing  in  Ink  or  Sepia,  1851  or  1852 

A  man  sitting  with  legs  crossed  on  a  beer  keg. 
(In  the  possession  of  Miss  Mary  Park.) 

(522).  Symphony  in  Blue  (Oil) 

(In  the  possession  of  Mrs.  John  L.  Gardner.) 

(523).  Trouville  (Oil) 

(In  the  possession  of  Mrs.  John  L.  Gardner.) 

(524).  Study  of  a  Cat  (Sketch) 

(In  the  possession  of  Howard  Mansfield,  Esq.) 

{525).  "Price's  Candle  Works" — Battersea.  Symphony  in 

Blue  (Pastel) 

A  view  of  the  Thames  at  Battersea.  The  horizon 
line  is  an  intense  blue  with  pale  yellow  lights  and  re- 
flections in  the  water.  Butterfly  monogram  in  lower 
right  corner.  Some  lines  of  purple  at  the  left  of  the 
butterfly.  (H.  4fr- B.  131,4.) 

(In  the  possession  of  William  Macbeth,  Esq.) 

(526).  Portrait  of  R.  A.  Canfield,  Esq.  (Oil) 

(In  the  possession  of  R.  A.  Canfield,  Esq.) 

(527).  Portrait  of  the  Artist  International  Exhibition  1900 

(528.)  La  Napolitaine — Rose  and  Or  (Oil) 

A  half  length  full-face  view  of  dark-haired,  dark- 
eyed  woman  in  a  rose-coloured  dress  with  dark  trim- 
mings at  the  neck.  The  dress  is  cut  away  from  the 
throat  in  a  V  shaped  opening  showing  a  single  row  of 
coral  beads.  The  eyes  are  turned  a  little  to  the  spec- 
tator's left.  The  hands  do  not  show.  Dark  golden 
brown  background. '  Never  exhibited. 

H.  191/4  B.  lli/8  (inside  the  frame.) 

Owned  by  R.  A.  Canfield,  Esq. 


A  LIST  OF 

WHISTLER'S  LITHOGRAPHS 


A  LIST  OF 

WHISTLER'S    LITHOGRAPHS 

Compiled  from  the  Catalogues  of  the  Memorial  Exhibitions  at  Boston, 
London  and  Paris  in  1904  and  1905. 


The  letter  W  preceding  the  number  at  the  right  refers 
to  the  catalogue  by  Thomas  R.  Way,  Second  Edition,  1905, 
George  Bell  and  Sons,  London;  H.  Wunderlich  and  Com- 
pany, New  York.  In  the  catalogues  of  the  Memorial  Exhi- 
bitions the  titles  of  the  lithographs  are  frequently  different 
from  those  used  by  Mr.  Way,  a  fact  that  makes  for  more  or 
less  confusion.  In  the  subjoined  list  an  attempt  has  been 
made  to  identify  the  subjects  of  the  Memorial  Catalogues 
with  those  of  Mr.  Way's  Catalogue  and  supply  the  correct 
Way  number  where  it  does  not  already  appear, 

(1).  Study,  Figure  of  a  Lady  W  1 

London  Catalogue:    Page  49,  No.  1. 

(2).  Study,  Female  Figure  W  2 

London  Catalogue:    Page  49,  No.  2. 

(3).  Study,  Female  Figure  W  3 

London  Catalogue:    Page  49,  No.  3. 

(4).  Limehouse  W  4 

Boston  Catalogue:  Page  24,  No.  1. 
Paris  Catalogue:    Page  87,  No.  188. 
London  Catalogue:    Page  49,  No.  4. 


236         THE  WORKS  OF  WHISTLER 

(5).  Nocturne  ,W  5 

Boston  Catalogue:    Page  24,  No.  2. 
Paris  Catalogue:    Page  87,  No.  189. 
London  Catalogue:    Page  49,  No.  5. 

(6).  The  Toilet  W  6 

Boston  Catalogue:    Page  24,  No.  3. 
London  Catalogue:  Page  49,  No.  6. 

(7).  Early  Morning  W  7 

Boston  Catalogue:  Page  24,  No.  4. 
Paris  Catalogue:    Page  87,  No.  190. 
London  Catalogue:    Page  49,  No.  7. 

(8).  The  Broad  Bridge  ,W  8 

London  Catalogue:    Page  49,  No.  8. 

(9).  The  Tall  Bridge  W  9 

Boston  Catalogue:    Page  24,  No.  6. 
London  Catalogue:    Page  49,  No.  9. 

(10).  Gaiety  Stage  Door  W  10 

Paris  Catalogue:    Page  87,  No.  191. 
London  Catalogue:    Page  49,  No.  10. 

(11).  Victoria  Club  W  11 

Paris  Catalogue:    Page  87,  No.  192. 
London  Catalogue:    Page  49,  No.  11. 

(12).  Old  Battersea  Bridge  W  12 

Boston  Catalogue:    Page  24,  No.  7. 
Paris  Catalogue:    Page  87,  No.  193. 
London  Catalogue:    Page  49,  No.  12. 

(13).  Reading  W  13 

Boston  Catalogue:    Page  24,  No.  8. 
London  Catalogue:    Page  49,  No.  13. 


WHISTLER'S  LITHOGRAPHS          237 

(13a).  Sketches  (Drawn  on  Stone  Later  Cleaned)      W  13a 
Boston  Catalogue:    Page  24,  No.  9. 
London  Catalogue:    Page  49,  No.  13a. 

(14).  The  Fan  W  14 

London  Catalogue:    Page  49,  No.  14. 

(15).  Study,  Classical  Figure,  Lightly  Draped  W  15 

London  Catalogue:    Page  49,  No.  15. 

(16).  Entrance  Gate,  St.  Bartholomew's  W  16 

Paris  Catalogue:    Page  87,  No.  194. 
London  Catalogue:    Page  49,  No.  16. 

(17).  Churchyard  W  17 

Boston  Catalogue:    Page  24,  No.  10. 
Paris  Catalogue:    Page  87,  No.  195. 
London  Catalogue:    Page  49,  No.  17. 

(18).  Little  Court,  Cloth  Fair  W  18 

Paris  Catalogue:    Page  87,  No.  196. 
London  Catalogue:    Page  50,  No.  18. 

(19).  Lindsay  Row,  Chelsea  W  19 

Paris  Catalogue:    Page  87,  No.  197. 
London  Catalogue:    Page  50,  No.  19. 

(20).  Chelsea  Shops  W  20 

Paris  Catalogue:    Page  87,  No.  198. 
London  Catalogue-    Page  50,  No.  20. 

(21).  Drury  Lane  Rags  W  21 

Paris  Catalogue:    Page  88,  No.  199. 
London  Catalogue:    Page  50,  No.  21. 

(22).  Chelsea  Rags  W  22 

Boston  Catalogue:    Page  25,  No.  11. 
Paris  Catalogue:    Page  88,  No.  200. 
London  Catalogue:    Page  50,  No.  22. 


238         THE  WORKS  OF  WHISTLER 

(23).  Courtyard,  Chelsea  Hospital  tW  23 

Boston  Catalogue:  Page  25,  No.  12. 
London  Catalogue:  Page  50,  No.  23. 

(24).  The  Farriers  W  24 

London  Catalogue:    Page  50,  No.  24. 

(25).  The  Winged  Hat  W  25 

Boston  Catalogue:  Page  25,  No.  13. 
Paris  Catalogue:  Page  88,  No.  202. 
London  Catalogue:  Page  50,  No.  25. 

(26).  Gants  de  Suede  W  26 

Boston  Catalogue:  Page  25,  No.  14. 
Paris  Catalogue:  Page  88,  No.  203. 
London  Catalogue:  Page  50,  No.  26. 

(27).  The  Tyresmith  W  27 

Boston  Catalogue:    Page  25,  No.  15. 
Paris  Catalogue:    Page  88,  No.  204. 
London  Catalogue:    Page  50,  No.  27. 

(28).  Maunder's  Fish-Shop,  Chelsea  W  28 

Boston  Catalogue:    Page  25,  No.  16. 
Paris  Catalogue:    Page  88,  No.  205. 
London  Catalogue:     Page  50,  No.  28. 

(29).  The  Little  Nude  Model,  Reading  W  29 

Boston  Catalogue:  Page  25,  No.  17. 
Paris  Catalogue:  Page  88,  No.  206. 
London  Catalogue:  Page  50,  No.  29. 

(30).  The  Dancing  Girl  W  30 

Boston  Catalogue:  Page  25,  No.  18. 
Paris  Catalogue:  Page  88,  No.  207. 
London  Catalogue:  Page  50,  No.  30. 


WHISTLER'S  LITHOGRAPHS          239 

(31).  The  Model  Draping  W  31 

Paris  Catalogue:  Page  88,  No.  208. 
London  Catalogue:  Page  50,  No.  31. 

(32).  The  Horoscope  W  32 

Boston  Catalogue:  Page  25,  No.  19. 
Pom  Catalogue:  Page  89,  No.  209. 
London  Catalogue:  Page  50,  No.  32. 

(33).  The  Novel.    Girl  Reading  W  33 

Boston  Catalogue:    Page  25,  No.  20. 
Paris  Catalogue:  Page  89,  No.  211. 
London  Catalogue:    Page  50,  No.  33. 

(34).  Gatti's  W  34 

London  Catalogue:    Page  50,  No.  34. 

(35).  Hotel  Colbert  Windows  W  35 

Paris  Catalogue:  Page  89,  No.  211. 
London  Catalogue:  Page  50,  No.  35. 

(36).  Cock  and  Hens,  Hotel  Colbert  W  36 

Paris  Catalogue:  Page  89,  No.  212. 
London  Catalogue:  Page  50,  No.  36. 

(37).  Staircase  W  37 

London  Catalogue:    Page  50,  No.  37. 

(38).  The  Garden  W  38 

Boston  Catalogue:  Page  25,  No.  21. 
Paris  Catalogue:  Page  89,  No.  213. 

Called  in  Paris  Catalogue  "Le  The"    (The   Tea 
Party.) 
London  Catalogue:    Page  50,  No.  38. 


240         THE  WORKS  OF  WHISTLER 

(39).  Vitre — The  Canal  in  Brittany  W  39 

Boston  Catalogue:  Page  26,  No.  22. 
Paris  Catalogue:  Page  89,  No.  214. 
London  Catalogue:  Page  50,  No.  39. 

(40).  The  Market  Place— Vitre  W  40 

Boston  Catalogue:  Page  26,  No.  23. 
Paris  Catalogue:  Page  89,  No.  215. 
London  Catalogue:  Page  50,  No.  40. 

(41).  Gabled  Roofs— Vitre  W  41 

Paris  Catalogue:  Page  89,  No.  216. 
London  Catalogue:  Page  50,  No.  41. 

(42).  The  Clock-Makers,  Paimpol  W  42 

Boston  Catalogue:  Page  26,  No.  24. 
Paris  Catalogue:  Page  89,  No.  217. 

(43).  The  Steps.  Luxembourg  W43 

Boston  Catalogue:  Page  26,  No.  25. 
Paris  Catalogue:  Page  89,  No.  218. 
London  Catalogue:  Page  50,  No.  43. 

(44).  Conversation  Under  the  Statue — 

Luxembourg  Gardens  W  44 

Paris  Catalogue:  Page  89,  No.  219. 
London  Catalogue:  Page  50,  No.  44. 

(45) .  The  Pantheon  from  the  Terrace 

of  the  Luxembourg  Gardens  W  45 

Paris  Catalogue:  Page  90,  No.  220. 
London  Catalogue:  Page  51,  No.  45. 

(46).  The  Draped  Figure— Seated  W  46 

Boston  Catalogue:  Page  26,  No.  26. 
Paris  Catalogue:  Page  90,  No.  221. 
London  Catalogue:  Page  51,  No.  46. 


WHISTLER'S  LITHOGRAPHS          241 

(47).  Nude  Model  Reclining  W  47 

Paris  Catalogue:    Page  90,  No.  222. 
London  Catalogue:    Page  51,  No.  47. 

(48).  Nursemaids  "Les  Bonnes  du  Luxembourg"      W  48 
Boston  Catalogue:    Page  26,  No.  27. 
Paris  Catalogue:    Page  90,  No.  223. 
London  Catalogue:    Page  51,  No.  48. 

(49).  The  Long  Balcony  W  49 

Paris  Catalogue:    Page  90,  No.  224. 
London  Catalogue:    Page  51,  No.  49. 

(50).  The  Little  Balcony  W  50 

Paris  Catalogue:    Page  90,  No.  225. 
London  Catalogue:    Page  51,  No.  50. 

(51).  Little  Draped  Figure,  Leaning  W  51 

Paris  Catalogue:    Page  90,  No.  226. 
London  Catalogue:    Page  51,  No.  51. 

(52).  The  Long  Gallery,  Louvre  W  52 

Boston  Catalogue:    Page  26,  No.  28. 
Paris  Catalogue:    Page  90,  No.  227. 
London  Catalogue:    Page  51,  No.  52. 

(53).  The  Whitesmiths,  Impasse  des  Carmelites        W  53 
Boston  Catalogue:    Page  26,  No.  29. 
Paris  Catalogue:    Page  90,  No.  228. 
London  Catalogue:    Page  51,  No.  53. 

(54).  Tete-a-Tete  in  the  Garden  W  54 

Paris  Catalogue:    Page  91,  No.  229. 
London  Catalogue:    Page  51,  No.  54. 

(55).  The  Terrace,  Luxembourg  W  55 

Paris  Catalogue:    Page  91,  No.  230. 
London  Catalogue: >  Page  51,  No.  55. 


242         THE  WORKS  OF  WHISTLER 

(56).  The  Little  Cafe  au  Bois  W  56 

Paris  Catalogue:    Page  91,  No.  231. 
London  Catalogue:    Page  51,  No.  56. 

(57).  Late  Picquet  W  57 

Paris  Catalogue:    Page  91,  No.  232. 
London  Catalogue:    Page  51,  No.  57. 

(58).  The  Laundress.    La  Blanchisseuse  de  la  Place  Dau- 
phine  W  58 

Boston  Catalogue:    Page  26,  No.  30. 
Paris  Catalogue:    Page  91,  No.  233. 
London  Catalogue:    Page  51,  No.  58. 

(59).  Rue  Furstenburg  W  59 

Boston  Catalogue:    Page  26,  No.  31. 
Paris  Catalogue:    Page  91,  No.  234. 
London  Catalogue:    Page  51,  No.  59. 

(60).  Confidences  in  the  Garden  W  60 

Paris  Catalogue:    Page  91,  No.  235. 
London  Catalogue:    Page  51,  No.  60. 

(61).  La  Jolie  New-Yorkaise  W  61 

Paris  Catalogue:    Page  91,  No.  236. 
London  Catalogue:    Page  51,  No.  61. 

(62).  La  Belle  Dame  Paresseuse  W  62 

Boston  Catalogue:    Page  26,  No.  32. 
Paris  Catalogue:    Page  91,  No.  237. 

(63).  La  Belle  Jardiniere  JW  63 

Boston  Catalogue:    Page  27,  No.  33. 
Paris  Catalogue:    Page  91,  No.  238. 
London  Catalogue:    Page  51,  No.  63. 


WHISTLER'S  LITHOGRAPHS          243 

(64).  The  Duet  W  64 

Boston  Catalogue:  Page  27,  No.  34. 
Paris  Catalogue:  Page  91,  No.  239. 
London  Catalogue:  Page  51,  No.  64. 

(65).  The  Duet,  No.  2.  W  65 

Paris  Catalogue:   Page  91,  No.  240. 

(66).  Stephane  Mallarme  .W  66 

Boston  Catalogue:  Page  27,  No.  35. 
Paris  Catalogue:  Page  91,  No.  241. 
London  Catalogue:  Page  51,  No.  66. 

(67).  The  Draped  Figure,  Back  View  W  67 

Paris  Catalogue:    Page  92,  No.  242. 

(68).  La  Robe  Rouge  W,  68 

Boston  Catalogue:  Page  27,  No.  36. 
Paris  Catalogue:  Page  92,  No.  243. 
London  Catalogue:  Page  52,  No.  68. 

(69).  La  Belle  Dame  Endormie  W  69 

Boston  Catalogue:  Page  27,  No.  37. 
Paris  Catalogue:  Page  92,  No.  244. 
London  Catalogue:  Page  52,  No.  69. 

(70).  La  Fruitiere  de  la  Rue  de  Crenelle  tW  70 

Boston  Catalogue:  Page  27,  No.  38. 
Paris  Catalogue:  Page  92,  No.  245. 
London  Catalogue:  Page  52,  No.  70. 

(71).  The  Sisters  W  71 

Boston  Catalogue:  Page  27,  No.  39. 
London  Catalogue:  Page  71. 

(72).  The  Forge.  Passage  du  Dragon  iWi  72 

Boston  Catalogue:  Page  27,  No.  40. 
Paris  Catalogue:  Page  92,  No.  246. 
London  Catalogue:  Page  52,  No.  72. 


244         THE  WORKS  OF  WHISTLER 

(73).  The  Smith,  Passage  du  Dragon  W  73 

Boston  Catalogue:  Page  27,  No.  41. 
Paris  Catalogue:  Page  92,  No.  247. 
London  Catalogue:  Page  52,  No.  73. 

(74).  The  Priest's  House— Rouen  W  74 

Boston  Catalogue:    Page  27,  No.  42. 
Paris  Catalogue:    Page  92,  No.  248. 
London  Catalogue:    Page  52,  No.  74. 

(75).  A  Portrait  W  75 

Boston  Catalogue:  Page  27,  No.  43. 
London  Catalogue:  Page  52,  No.  75. 

(76).  Figure  Study  W  76 

Boston  Catalogue:  Page  28,  No.  44. 
London  Catalogue:  Page  52,  No.  76. 

(77).  Study  W  77 

London  Catalogue:    Page  52,  No.  77. 

(78).  The  Doctor  W  78 

Boston  Catalogue:  Page  28,  No.  45. 
Paris  Catalogue:  Page  92,  No.  249. 
London  Catalogue:  Page  52,  No.  78. 

(79).  Walter  Sickert  W  79 

Boston  Catalogue:  Page  28,  No.  46. 
London  Catalogue:  Page  52,  No.  79. 

(80).  Mother  and  Child— No.  1.  W  80 

Boston  Catalogue:  Page  28,  No.  47. 
Paris  Catalogue:  Page  92,  No.  250. 
London  Catalogue:  Page  52,  No.  80. 

(81).  Back  of  the  Gaiety  Theatre  W  81 

Paris  Catalogue:    Page  92,  No.  251. 
London  Catalogue:    Page  52,  No.  81. 


WHISTLER'S  LITHOGRAPHS          245 

(82).  Girl  with  Bowl  W  82 

Paris  Catalogue:    Page  92,  No.  252. 
London  Catalogue:    Page  52,  No.  82. 

(83).  The  Little  Doorway,  Lyme-Regis  W  83 

Boston  Catalogue:  Page  28,  No.  48. 
Paris  Catalogue:  Page  92,  No.  253. 
London  Catalogue:  Page  62,  No.  83. 

(84).  The  Master  Smith  W  84 

Paris  Catalogue:  Page  92,  No.  254. 
London  Catalogue:  Page  52,  No.  84. 

(85).  The  Sunny  Smithy  W  85 

Paris  Catalogue:    Page  93,  No.  255. 
London  Catalogue:    Page  52,  No.  85. 

(86).  The  Good  Shoe  W  86 

Paris  Catalogue:    Page  93,  No.  256. 
London  Catalogue:    Page  52,  No.  86. 

(87).  Father  and  Son  W  87 

Paris  Catalogue:  Page  93,  No.  257. 
London  Catalogue:  Page  52,  No.  87. 

(88).  The  Smith's  Yard  W  88 

Boston  Catalogue:    Page  28,  No.  49. 
Paris  Catalogue:    Page  93,  No.  258. 
London  Catalogue:    Page  52,  No.  88. 

(89).  The  Strong  Arm  W  89 

Paris  Catalogue:  Page  93,  No.  259. 
London  Catalogue:  Page  52,  No.  89. 

(90).  The  Blacksmith  W  90 

Paris  Catalogue:   Page  93,  No.  260. 
London  Catalogue:    Page  53,  No.  90. 


246         THE  WORKS  OF  WHISTLER 

(91).  The  Brothers  W  91 

Boston  Catalogue:  Page  28,  No.  50. 
Paris  Catalogue:  Page  93,  No.  261. 
London  Catalogue:  Page  53,  No.  91. 

(92).  The  Fair  W  92 

Boston  Catalogue:  Page  28,  No.  51. 
Paris  Catalogue:  Page  93,  No.  262. 

Called    in     Paris    Catalogue:    Lyme-Regis — The 

Fair. 
London  Catalogue:    Page  53,  No.  92. 

(93).  John  Grove  W  93 

Boston  Catalogue:  Page  28,  No.  52. 
London  Catalogue:  Page  53,  No.  93. 

(94).  The  Little  Steps.  Lyme-Regis  W  94 

Boston  Catalogue:  Page  28,  No.  53. 
Paris  Catalogue:  Page  93,  No.  263. 
London  Catalogue:  Page  53,  No.  94. 

(95).  Study  of  a  Horse  W  95 

London  Catalogue:    Page  53,  No.  95. 

(96).  Sunday — Lyme-Regis  W  96 

Boston  Catalogue:  Page  28,  No.  54. 
Paris  Catalogue:  Page  93,  No.  264. 
London  Catalogue:  Page  53,  No.  96. 

(97).  The  Fifth  of  November  W  97 

Paris  Catalogue:  Page  93,  No.  265. 
London  Catalogue:  Page  53,  No.  97. 

(98).  The  Old  Smith's  Story  W  98 

Paris  Catalogue:  Page  93,  No.  266. 
London  Catalogue:  Page  53,  No.  98. 

(99).  Figure  Study  in  Colors  W  99 

Boston  Catalogue:  Page  29,  No.  55. 
London  Catalogue:  Page  53,  No.  99. 


WHISTLER'S  LITHOGRAPHS          247 

(100).  Red  House,  Paimpol  W  100 

Boston  Catalogue:  Page  29,  No.  56. 
Paris  Catalogue:  Page  95,  No.  285. 
London  Catalogue:  Page  53,  No.  100. 

(101).  Yellow  House,  Lannion  W  101 

Boston  Catalogue:    Page  29,  No.  57. 
Paris  Catalogue:    Page  95,  No.  286. 
London  Catalogue:    Page  53,  No.  101. 

(102).  Mother  and  Child— No.  Z  W  102 

Boston  Catalogue:  Page  29,  No.  58. 
Paris  Catalogue:  Page  93,  No.  267. 
London  Catalogue:  Page  53,  No.  102. 

(103).  Firelight— Mrs.  Pennell  W  103 

London  Catalogue:    Page  53,  No.  103. 

(104).  Firelight— Joseph  Pennell,  No.  1.  W  104 

London  Catalogue:    Page  53,  No.  104. 

(105).  Firelight— Joseph  Pennell,  No.  2.  W  105 

London  Catalogue:    Page  53,  No.  105. 

(106).  The  Barber's  Shop  in  the  Mews  W  106 

London  Catalogue:    Page  53,  No.  106. 

(107).  Portrait  of  T.  Way,  No.  1.  W  107 

London  Catalogue:    Page  53,  No.  107. 

(108).  Portrait  of  T.  Way,  No.  2.  W  108 

London  Catalogue:    Page  53,  No.  108. 

(109).  Kensington  Gardens  W  109 

Boston  Catalogue:    Page  29,  No.  59. 
London  Catalogue    Page  53,  No.  109. 

(110).  Little  Evelyn  W  HO 

Boston  Catalogue:  Page  29,  No.  60. 
London  Catalogue:  Page  53,  No.  110. 


248          THE  WORKS  OF  WHISTLER 

(111).  Study—  Joseph  Pennell,  No.  3.  W  111 

Boston  Catalogue:    Page  29,  No.  61. 
London  Catalogue:    Page  54,  No.  111. 

(112).  The  Russian  Schube  —  Portrait  of  Joseph  Pennell, 
No.  4.  W  112 

London  Catalogue:    Page  53,  No. 


(113).  Needlework  W  113 

Boston  Catalogue:  Page  29,  No.  62. 
Paris  Catalogue:  Page  94,  No.  268. 
London  Catalogue:  Page  54,  No.  113. 

(114).  The  Manager's  Window—  Gaiety  Theatre      W  114 

Boston  Catalogue:  Page  29,  No.  63. 
Paris  Catalogue:  Page  94,  No.  269. 
London  Catalogue:  Page  54,  No.  114. 

(115).  Little  Dorothy  W  115 

London  Catalogue:    Page  54,  No.  115. 

(116).  Portrait  Study  W  116 

London  Catalogue:    Page  54,  No.  116. 

(117).  Portrait  Study—  A  Young  Man  W  117 

London  Catalogue:    Page  54,  No.  117. 

(118).  Savoy  Pigeons  W  118 

Boston  Catalogue:    Page  29,  No.  64. 
Paris  Catalogue:    Page  94,  No.  270. 
London  Catalogue:    Page  54,  No.  118. 

(119).  Evening—  Little  Waterloo  Bridge  W  119 

Boston  Catalogue:    Page  30,  No.  65. 
Paris  Catalogue:    Page  94,  No.  271. 
London  Catalogue:    Page  54,  No.  119. 


WHISTLER'S  LITHOGRAPHS          249 

(120).  Charing   Cross   Railway   Bridge  W  120 

Boston  Catalogue:  Page  30,  No.  66. 
Paris  Catalogue:  Page  94,  No.  272. 
London  Catalogue:  Page  54,  No.  120. 

(121).  Little  London  [W  121 

Boston  Catalogue:  Page  30,  No.  G7. 
Paris  Catalogue:  Page  94,  No.  273. 
London  Catalogue:  Page  54,  No.  121. 

(122).  The  Siesta  W  122 

London  Catalogue:    Page  54,  No.  122. 

(123).  Waterloo  Bridge  W  123 

Boston  Catalogue:  Page  30,  No.  68. 
Paris  Catalogue:  Page  94,  No.  274. 
London  Catalogue:  Page  54,  No.  123. 

(124).  By  the  Balcony  [W  124 

London  Catalogue:    Page  54,  No.  124. 

(125).  The  Thames  W.  125 

Boston  Catalogue:  Page  30,  No.  69. 
Paris  Catalogue:  Page  94,  No.  275. 
London  Catalogue:  Page  54,  No.  125. 

(126).  St.  Anne's— Soho  W  126 

Boston  Catalogue:  Page  30,  No.  70. 
Paris  Catalogue:  Page  94,  No.  276. 
London  Catalogue:  Page  54,  No.  126. 

(127).  Sketch  of  Mr.  Henley  W  127 

Boston  Catalogue:  Page  30,  No.  71. 
London  Catalogue:  Page  54,  No.  127. 

(128).  The  Butcher's  Dog  W  128 

Boston  Catalogue:    Page  30,  No.  72. 
Paris  Catalogue:    Page  94,  No.  277. 
London  Catalogue:    Page  54,  No.  128. 


250         THE  WORKS  OF  WHISTLER 

(129).  St.  Giles-in-the-Fields  W  129 

Boston  Catalogue:  Page  30,  No.  73. 
Paris  Catalogue:  Page  94,  No.  278. 
London  Catalogue:  Page  54,  No.  129. 

(130).  Little  London  Model  W  130 

London  Catalogue:    Page  54,  No.  130. 

(131).  Maude  Seated— A  Lady  in  a  Big  Chair  W  131 

London  Catalogue:    Page  55,  No.  133. 

(132).  Old  Battersea  Bridge,  No.  2  W  132 

London  Catalogue:    Page  59,  No.  145. 

(133).  Fireplace— Vitre  W  133 

Boston  Catalogue:  Page  31,  No.  80. 
London  Catalogue:  Page  54,  No.  131. 

(134).  Mother  and  Child,  No.  3  W  134 

Paris  Catalogue:  Page  95,  No.  2~80. 
London  Catalogue:  Page  56,  No.  135. 

(135).  Mother  and  Child,  No.  4  W  135 

London  Catalogue:    Page  57,  No.  139. 
(Description  differs  in  London  Catalogue.) 

(136).  Mother  and  Child,  No.  5  W  136 

London  Catalogue:    Page  57,  No.  140. 

(Description  differs  in  London  Catalogue.) 

(137).  Portrait  of  M.  le  Comte  de  Montesquieu,  No.  1 

W  137 
London  Catalogue:    Page  58,  No.  144. 

(138).  Comte  de  Montesquieu,  No.  2  W  138 

London  Catalogue:    Page  60,  No.  149. 

(139).  Count  Robert  de  Montesquieu,  No.  3  W  139 

(Not  exhibited  at  the  Boston,  London  or  Paris  me- 
morials.) 


WHISTLER'S  LITHOGRAPHS          25 1 

(140).  The  Garden  Porch— Le  Jardin,  Rue  du  Bac,  No.  2 

W  140 

Paris  Catalogue:  Page  95,  No.  281. 
London  Catalogue:  Page  56,  No.  137. 

(141).  The  Man  with  a  Sickle— Le  Jardin,  Rue  du  Bac, 

No.  1.  W  141 

Paris  Catalogue:  Page  94,  No.  279. 
London  Catalogue:  Page  55,  No.  134. 

(142).  Dr.  Whistler,  No.  2  W  142 

London  Catalogue:    Page  58,  No.  143. 

(143).  The   Black   Bonnet— Perhaps    "Unfinished   Sketch 
of  Lady  Haden."  W  143 

London  Catalogue:    Page  58,  No.  142. 

(144).  Two  Sketches  W  144 

London  Catalogue:    Page  56,  No.  136. 

(145).  A  Smith  of  Lyme-Regis  W  145 

London  Catalogue:    Page  57,  No.  141. 

(146).  Two  Slight  Sketches  W  146 

London  Catalogue:    Page  57,  No.  138. 

(147).  Afternoon  Tea  W  147 

Boston  Catalogue:  Page  30,  No.  74. 
Paris  Catalogue:  Page  95,  No.  282. 
London  Catalogue:  Page  59,  No.  146. 

(148).  La  Danseuse  W  148 

London  Catalogue:    Page  55,  No.  132. 

(149).  Portrait  Study:  Miss  Charlotte  R.  Williams    W  149 
(Not  in  Boston,  London  or  Paris  memorial  cata- 
logues.) 


252          THE  WORKS  OF  WHISTLER 

(150).  Stephane  Mallarme,  No.  2  W  150 

(Not  in  Boston,  London  or  Paris  memorial  cata- 
logues.) 

(151).  The  Shoe-Maker  W,  151 

Paris  Catalogue:    Page  95,  No.  283. 
London  Catalogue:    Page  59,  No.  147. 

(152).  A  Lady  Seated  W  152 

Boston  Catalogue:    Page  30,  No.  75. 

(153).  The  Medici  Collar  W  153 

(Not  in  Boston,  London  or  Paris  memorial  cata- 
logues.) 

(154).  Nude  Model,  Standing  W  154 

(Not  in  Boston,  London  or  Paris  memorial  cata- 
logues.) 

(155).  Draped  Figure,  Standing  W  155 

London  Catalogue:    Page  60,  No.  151. 

(156).  Draped  Figure,  Reclining  W  156 

Boston  Catalogue:    (Girl  on  couch)    Page  31,  No.  76. 
London  Catalogue:    Page  61,  No.  152. 

(157).  Lady  and  Child  W  157 

Paris  Catalogue:    Page  95,  No.  287,  or  288? 

(158).  The  Cap  W  158 

Boston  Catalogue:    Page  31,  No.  77  or  78. 

(159).  The  Girl  .W  159 

Boston  Catalogue:    Page  31,  No.  77  or  78. 

(160).  Two  Sketches  W  160 

London  Catalogue:    Page  60,  No.  148. 


WHISTLER'S  LITHOGRAPHS          253 

(161).  The  Fur  Jacket  ,W.  161 

Boston  Catalogue:    Page  31,  No.  79. 

(Not  in  Way  Catalogue,  1905  Edition.) 
Numbers  287  and  288  of  the  Paris  Catalogue,  Page  95, 
are  given  simply  as  Colour  Study  No.  1,  and  Colour  Study 
No.  2,  without  a  Way  number.  They  probably  appear  in 
the  new  edition  of  the  Way  Catalogue  but  are  not  easy  to 
identify  as  no  description  of  them  is  given  in  the  Paris  Cata- 
logue. 


A  LIST  OF 

WHISTLER'S  ETCHINGS 


A  LIST  OF 

WHISTLER'S    ETCHINGS 

SHOWN  AT  THE  MEMORIAL  EXHIBITIONS  AT 
BOSTON,  LONDON  AND  PARIS  IN  1904  AND 
1905,  AND  BY  THE  GROLIER  CLUB  IN  1904. 

Compiled  from  the  Catalogues  of  the  Exhibitions,  with  the  few  num- 
bers not  shown  added.* 

The  letter  W  before  the  number  on  the  right  refers  to  the 
.Wedmore  catalogue,  the  letter  S  to  the  Supplement  by  an 
Amateur  and  the  letter  G  to  the  Grolier  Club  catalogue  of  1904. 

Only  the  subjects  are  given.  The  two  noble  monuments  to 
Whistler's  fame  as  an  etcher,  the  catalogue  to  be  published  by 
the  Grolier  Club  and  Mr.  Howard  Mansfield's  catalogue  for  the 
Caxton  Club,  will  contain  the  results  of  indefatigable  research 
and  care  in  the  compilation  of  all  obtainable  data.  As  in  the 
case  of  the  lithographs,  the  names  and  descriptions  of  the  plates 
have  sometimes  differed  in  the  various  catalogues.  It  is  hoped 
that  in  the  present  lists  a  reasonable  degree  of  accuracy  has 
been  attained  in  giving  to  each  title  its  correct  Wedmore,  sup- 
plement, or  Grolier  number.  So  large  a  proportion  of  the  sub- 
jects were  in  the  Grolier  Club  Exhibition,  that  when  a  sub- 
ject was  exhibited  at  any  one  of  the  Memorial  Exhibitions 
and  not  at  the  Grolier  Club,  a  note  has  been  made  to  that  effect. 

Where  Grolier  Club  follows  the  title  of  a  subject,  it  indi- 
cates that  the  subject  was  exhibited  at  the  Grolier  Club  only, 
and  not  at  the  Memorial  Exhibitions. 

(1).  Early  Portrait  of  Whistler  W  I 

Grolier  Club.    No.  1. 

From  the  Wedmore  Catalogue.   ^  _ 


258          THE  WORKS  OF  WHISTLER 

(2).  Annie  Haden  W  2 

Grolier  Club.    No.  2. 

(3).  The  Dutchman  Holding  the  Glass  W  3 

Grolier  Club.    No.  3. 

(4).  Liverdun  W  4 

Boston  Catalogue:    Page  3,  No.  1. 
London  Catalogue:    Page  21,  No.  4. 

(5).  La  Retameuse  (The  Tinker  Woman)  W  5 

Boston  Catalogue:    Page  3,  No.  2. 
Paris  Catalogue:    Page  101,  No.  291. 
London  Catalogue:    Page  21,  No.  5. 

(6).  En  Plein  Soleil  W  6 

London  Catalogue:   Page  21,  No.  6. 

(7).  The  Unsafe  Tenement  W  7 

Boston  Catalogue:    Page  3,  No.  3. 
Paris  Catalogue:    Page  101,  No.  296. 
London  Catalogue:   Page  21,  No.  7. 

(8).  The  Dog  on  the  Kennel  W  8 

London  Catalogue:    Page  21,  No.  8. 

(9).  La  Mere  Gerard  W  9 

Paris  Catalogue:    Page  101,  No.  292. 
London  Catalogue:    Page  21,  No.  9. 

(10).  La  Mere  Gerard,  Stooping  W  10 

Grolier  Club.    No.  11. 

(11).  Street  at  Saverne  W  11 

Boston  Catalogue:   Page  3,  No.  6. 
Paris  Catalogue:    Page  101,  No.  293. 
London  Catalogue:    Page  21,  No.  11. 


WHISTLER'S  ETCHINGS  259 

(12).  Gretchen  at  Heidelberg  W  12 

Boston  Catalogue:    Page  3,  No.  7. 

(13).  Little  Arthur  W  13 

Paris  Catalogue:    Page  101,  No.  294. 
London  Catalogue:    Page  21,  No.  13. 

(14).  La  Vielle  aux  Loques  W  14 

Boston  Catalogue:    Page  3,  No.  8. 
Paris  Catalogue:    Page  101,  No.  295. 
London  Catalogue:    Page  21,  No.  14. 

(15).  Annie  W  15 

Boston  Catalogue:    Page  4,  No.  9. 
Paris  Catalogue:    Page  101,  No.  296. 
London  Catalogue:    Page  21,  No.  15. 

(16).  La   Marchande   de   Moutarde  W  16 

Boston  Catalogue:    Page  4,  No.  10. 
Paris  Catalogue:    Page  101,  No.  297. 
London  Catalogue:    Page  21,  No.  16. 

(17).  The  Rag  Gatherers  W  17 

Boston  Catalogue:  Page  4,  No.  11. 
Paris  Catalogue:    Page  101,  No.  298. 
London  Catalogue:    Page  21,  No.  17. 

ri8).  Fumette  W  18 

Boston  Catalogue:    Page  4,  No.  13. 
Paris  Catalogue:    Page  101,  No.  299. 
London  Catalogue:    Page  21,  No.  18. 

(19).  The  Kitchen  W  19 

Boston  Catalogue:    Page  4,  No.  14. 
Paris  Catalogue:    Page  101,  No.  300. 
London  Catalogue:    Page  21,  No.  19. 


260          THE  WORKS  OF  WHISTLER 

(20).  The  Title  to  the  French  Set  W  20 

1858.  Paris  Catalogue:   Page  101,  No.  301. 
London  Catalogue:    Page  21,  No.  20. 

(21).  Auguste  Delatre  tW  21 

Boston  Catalogue:    Page  4,  No.  16. 
London  Catalogue:   Page  21,  No.  21. 

(22).  A  Little  Boy  W  22 

London  Catalogue:    Page  22,  No.  22. 

(23).  Seymour  W  23 

London  Catalogue:    Page  22,  No.  23. 

(24).  Annie,  Seated  W  24 

Boston  Catalogue:    Page  4,  No.  17. 
London  Catalogue:    Page  22,  No.  24. 

(25).  Reading  by  Lamp-Light  W  25 

Boston  Catalogue:  Page  4,  No.  18. 
London  Catalogue:  Page  22,  No.  25. 

(26).  The  Music  Room  W  26 

Boston  Catalogue:  Page  4,  No.  20. 
Paris  Catalogue:  Page  101,  No.  302. 
London  Catalogue:  Page  22,  No.  26. 

(27).  Soupe  £  Trois  Sous  W  27 

Boston  Catalogue:   Page  5,  No.  22. 
Paris  Catalogue:    Page  102,  No.  303. 
London  Catalogue:    Page  22,  No.  27. 

(28).  Bibi  Valentin  W  28 

Boston  Catalogue:    Page  5,  No.  23. 

1859.  Paris  Catalogue:    Page  102,  No.  304. 
London  Catalogue:    Page  22,  No.  28. 

(29).  Reading  in  Bed  W  29 

London  Catalogue:    Page  22,  No.  29. 


WHISTLER'S  ETCHINGS  261 

(30).  Bibi  Lalouette  W  30 

Boston  Catalogue:    Page  5,  No.  25. 

1859.     Paris  Catalogue:    Page  102,  No.  305. 
London  Catalogue:    Page  22,  No.  30. 

(31).  The  Wine  Glass  W  31 

Boston  Catalogue:    Page  5,  No.  26. 
London  Catalogue:    Page  22,  No.  31. 

(32).  Greenwich  Pensioner  W  32 

Boston  Catalogue:    Page  5,  No.  27. 
London  Catalogue:    Page  22,  No.  32. 

(33).  Greenwich  Park  W  33 

Boston  Catalogue:    Page  5,  No.  28. 
London  Catalogue:    Page  22,  No.  33. 

(34).  Nursemaid  and  Child  W  34 

London  Catalogue:    Page  22,  No.  34. 

(35).  Thames   Warehouses  W  35 

Boston  Catalogue:    Page  5,  No.  30. 

1859.     Paris  Catalogue:    Page  102,  No.  306. 
London  Catalogue:    Page  22,  No.  35. 

(36).  Westminster  Bridge  W  36 

Boston  Catalogue:    Page  5,  No.  31. 

1859.     Paris  Catalogue:    Page  102,  No.  307. 
London  Catalogue:    Page  22,  No.  36. 

(37).  Limehouse  W  37 

Boston  Catalogue:    Page  5,  No.  32. 

1859.     Paris  Catalogue:   Page  102,  No.  308. 
London  Catalogue:    Page  22,  No.  37. 

(38).  A  Wharf  W  38 

London  Catalogue:    Page  22,  No.  38. 


262         THE  WORKS  OF  WHISTLER 

(39).  Tyzac,  Whiteley  &  Co  W  39 

Boston  Catalogue:    Page  5,  No.  33. 
1859.     Paris  Catalogue:    Page  102,  No.  309. 

London  Catalogue:    Page  22,  No.  39. 

(40).  Black  Lion  Wharf  W  40 

Boston  Catalogue:    Page  6,  No.  34. 
1850.     Paris  Catalogue:  Page  102,  No.  310. 
London  Catalogue:    Page  22,  No.  40. 

(41).  The  Pool  W41 

Boston  Catalogue:    Page  6,  No.  35. 
1850.     Paris  Catalogue:  Page  102,  No.  311. 
London  Catalogue:    Page  22,  No.  41. 

(42).  Thames  Police  W  42 

Boston  Catalogue:    Page  6,  No.  36. 
London  Catalogue:    Page  22,  No.  42. 

(43).  'Long-shore  Men  W  43 

Boston  Catalogue:    Page  6,  No.  37. 
London  Catalogue:    Page  23,  No.  43. 

(44).  The  Lime-Burner  W  44 

Boston  Catalogue:    Page  6,  No.  38. 
1859.     Paris  Catalogue:    Page  102,  No.  312. 
London  Catalogue:   Page  23,  No.  44. 

(45).  Billingsgate  W  45 

Boston  Catalogue:    Page  6,  No.  39. 
London  Catalogue:    Page  23,  No.  45. 

(46).  Landscape  with  the  Horse  W  46 

London  Catalogue:    Page  23,  No.  46. 

(47).  Arthur  Seymour  W  47 

Boston  Catalogue:    Page  6,  No.  41. 
Paris  Catalogue:    Page  102,  No.  313. 


WHISTLER'S  ETCHINGS  263 

(48).  Becquet  W  48 

Boston  Catalogue:    Page  6,  No.  42. 
Paris  Catalogue:    Page  102,  No.  314. 
London  Catalogue:    Page  23,  No.  48. 

(49).  Astruc,  A  Literary  Man  W  49 

Boston  Catalogue:    Page  6,  No.  43. 

(50).  Fumette,  Standing  W  50 

Boston  Catalogue:    Page  6,  No.  44. 
1850.     Paris  Catalogue:  Page  102,  No.  315. 

London  Catalogue:    Page  23,  No.  50. 

(51).  Fumette's  Bent  Head  W  «1 

Boston  Catalogue:    Page  7,  No.  45. 
London  Catalogue:    Page  23,  No.  51. 

(52).  Whistler  W  52 

Boston  Catalogue:    Page  7,  No.  46. 
1850.     Paris  Catalogue:  Page  102,  No.  316. 
London  Catalogue:    Page  23,  No.  52. 

(53).  Drouet  W  53 

Boston  Catalogue:    Page  7,  No.  47. 
1850.     Paris  Catalogue:  Page  102,  No.  317. 
London  Catalogue:    Page  23,  No.  53. 

(54).  Finette  W  54 

Boston  Catalogue:   Page  7,  No.  48. 
1850.     Paris  Catalogue:  Page  102,  No.  318. 

London  Catalogue:    Page  23,  No.  54. 

(55) .  Paris :  Isle  de  la  Cite  W  55 

Boston  Catalogue:    Page  7,  No.  49. 
London  Catalogue:    Page  23,  No.  55. 


264         THE  WORKS  OF  WHISTLER 

(56).  Venus  W  56 

(Not  in  the  Catalogues  of  the  Boston,  London  or 
Paris  Exhibitions  or  in  that  of  the  Grolier  Club  Exhi- 
bition.) 

(57).  Annie  Haden  W  57 

Boston  Catalogue:    Page  7,  No.  50. 
1860.     Paris  Catalogue:    Page  102,  No.  319. 

London  Catalogue:    Page  22,  No.  57. 

(58).  Mr.  Mann  W  58 

Boston  Catalogue:    Page  7,  No.  51. 
London  Catalogue:    Page  23,  No.  58. 

(59).  The  Penny  Boat  W  59 

London  Catalogue:    Page  23,  No.  59. 

(60).  Rotherhithe  W  60 

Boston  Catalogue:    Page  7,  No.  52. 
1860.     Paris  Catalogue:    Page  102,  No.  320. 

London  Catalogue:    Page  23,  No.  60. 

(61).  Axenfeld  W  61 

Boston  Catalogue:    Page  7,  No.  54. 

1860.  Paris  Catalogue:    Page  102,  No.  321. 
London  Catalogue:    Page  23,  No.  61. 

(62).  The  Engraver  W  62 

Boston  Catalogue:    Page  7,  No.  55. 

(63).  The  Forge  W  63 

Boston  Catalogue:    Page  8,  No.  56. 

1861.  Paris  Catalogue:    Page  103,  No.  322. 
London  Catalogue:    Page  23,  No.  63. 

(64).  Joe  W  64 

Boston  Catalogue:    Page  8,  No.  57. 


WHISTLER'S  ETCHINGS  265 

(65).  The  Miser  W  65 

Boston  Catalogue:   Page  8,  No.  60. 
London  Catalogue:    Page  24,  No.  65. 

(G6).  Vauxhall  Bridge  W  66 

London  Catalogue:   Page  24,  No.  66. 

(67).  Millbank  W  67 

London  Catalogue:    Page  24,  No.  67. 

(68).  The  Punt  W  68 

London  Catalogue:    Page  24,  No.  68. 

(69).  Sketching  W  69 

London  Catalogue:    Page  24,  No.  69. 

(70).  Westminster  Bridge  in  Progress  W  70 

London  Catalogue:    Page  24,  No.  70. 

(71).  The  Little  Wapping  W  71 

London  Catalogue:    Page  24,  No.  71. 

(72).  The  Little  Pool  W  72 

1861.     Paris  Catalogue:    Page  103,  No.  323. 
London  Catalogue:   Page  24,  No.  72. 

(73).  The  Tiny  Pool  W  73 

Grolier  Club:    No.  76. 

(74).  Ratcliffe  Highway  W  74 

Grolier  Club:   No.  77. 

(75).  Encamping  W  75 

London  Catalogue:    Page  24,  No.  75. 

(76).  Ross  Winans  W  76 

Boston  Catalogue:   Page  8,  No.  61. 
Paris  Catalogue:    Page  103,  No.  324. 
London  Catalogue:    Page  24,  No.  76. 


266         THE  WORKS  OF  WHISTLER 

(77).  The  Storm  W  77 

Boston  Catalogue:    Page  8,  No.  62. 
1861.     Paris  Catalogue:    Page  103,  No.  325. 

London  Catalogue:    Page  24,  No.  77. 

(78).  Little  Smithfield  W  78 

London  Catalogue:    Page  24,  No.  78. 

(79).  CadoganPier  W  79 

Boston  Catalogue:    Page  8,  No.  63. 
London  Catalogue:    Page  24,  No.  79. 

(80).  Old  Hungerford  Bridge  W  80 

Boston  Catalogue:    Page  8,  No.  64. 
London  Catalogue:    Page  24,  No.  80. 

(81).  Chelsea  Wharf  W  81 

London  Catalogue:    Page  24,  No.  81. 

(82).  Amsterdam,  Etched  from  the  Tolhuis  W  82 

Boston  Catalogue:    Page  8,  No.  65. 
1863.     Paris  Catalogue:    Page  103,  No.  326. 
London  Catalogue:    Page  24,  No.  82. 

(83).  Weary  W  83 

Boston  Catalogue:    Page  9,  No.  67. 
1863.     Paris  Catalogue:    Page  103,  No.  327. 

London  Catalogue:   Page  24,  No.  83. 

(84).  Shipping  at  Liverpool  W  84 

Grolier  Club,  No.  87. 

(85).  Chelsea  Bridge  and  Church  W  85 

London  Catalogue:    Page  24,  No.  85. 

(86).  Speke  Hall  W  86 

Boston  Catalogue:    Page  9,  No.  68. 
1870.     Paris  Catalogue:    Page  103,  No.  328. 

London  Catalogue:    Page  24,  No.  86. 


WHISTLER'S  ETCHINGS  267 

(87).  The  Model,  Resting  W  87 

Boston  Catalogue:    Page  9,  No.  70. 
London  Catalogue:    Page  25,  No.  87. 

(88).  Whistler's  Mother  W  88 

Boston  Catalogue:    Page  9,  No.  71. 
Paris  Catalogue:    Page  103,  No.  329. 
London  Catalogue:    Page  25,  No.  88. 

(89).  Swan  Brewery  W  89 

London  Catalogue:    Page  25,  No.  89. 

(90).  Fosco  W  90 

London  Catalogue:    Page  25,  No.  90. 

(91).  The  Velvet  Dress  W  91 

Boston  Catalogue:  Page  9,  No.  72. 
1873.     Paris  Catalogue:    Page  103,  No.  330. 

(92).  The  Little  Velvet  Dress  W  92 

Boston  Catalogue:    Page  9,  No.  75. 
1873.     Paris  Catalogue:    Page  103,  No.  331. 
London  Catalogue:    Page  25,  No.  92. 

(93).  F.  R.  Leyland  W  93 

London  Catalogue:    Page  25,  No.  93. 

(94).  Fanny  Leyland  W  94 

Boston  Catalogue:    Page  9,  No.  76. 
1873.     Paris  Catalogue:    Page  103,  No.  332. 

London  Catalogue:    Page  25,  No.  94. 

(95).  Elinor  Leyland  W  95 

Boston  Catalogue:    Page  9,  No.  77. 
Paris  Catalogue:    Page  103,  No.  333. 
London  Catalogue:    Page  25,  No.  95. 


268         THE  WORKS  OF  WHISTLER 

(96).  Florence  Leyland  W  96 

Boston  Catalogue:    Page  9,  No.  78. 
Paris  Catalogue:    Page  103,  No.  334. 
London  Catalogue:    Page  25,  No.  96. 

(97).  Reading  a  Book  W  97 

London  Catalogue:    Page  25,  No.  97. 

(98).  Tatting  W  98 

London  Catalogue:    Page  25,  No.  98. 

(99).  Maude,  Standing  ,W  99 

Boston  Catalogue:    Page  9,  No.  79. 
London  Catalogue:    Page  25,  No.  99. 

(100).  Maude,  Seated  W  100 

London  Catalogue:    Page  25,  No.  100. 

(101).  The  Beach  W  101 

Grolier  Club,  No.  107. 

(102).  Tillie:  A  Model  ,W  102 

Boston  Catalogue:    Page  10,  No.  80. 
London  Catalogue:    Page  25,  No.  102. 

(103).  Seated  Girl  W  103 

Boston  Catalogue:    Page  10,  No.  81. 

(104).  The  Desk  W  104 

London  Catalogue:   Page  25,  No.  104. 

(105).  Resting  W  105 

London  Catalogue:    Page  25,  No.  105. 

(106).  Agnes  W  106 

Boston  Catalogue:    Page  10,  No.  82. 
Paris  Catalogue:    Page  103,  No.  335. 
London  Catalogue:    Page  25,  No.  106. 


WHISTLER'S  ETCHINGS  269 

(107).  The  Model,  Lying  Down  W  107 

Paris  Catalogue:    Page  103,  No.  336. 

(108).  Two  Sketches  W  108 

(Not  included  in  the  Boston,  London  or  Paris  Me- 
morial Exhibitions  or  in  that  of  the  Grolier  Club.) 

(109).  The  Boy  W  109 

Boston  Catalogue:    Page  10,  No.  83. 
Paris  Catalogue:    Page  103,  No.  337. 
London  Catalogue:    Page  26,  No.  109. 

(110).  Swinburne  W  110 

(Neither  110  nor  111  was  included  in  the  Memo- 
rial Exhibitions  or  in  that  of  the  Grolier  Club.) 

(111).  Lady  at  a  Window  W  111 

(112).  A  Child  on  a  Couch  W  112 

London  Catalogue:    Page  26,  No.  112. 

(113).  Sketch  of  a  Girl,  Nude  W  113 

(Not  included  in  the  Memorial  Exhibitions  or  in 
that  of  the  Grolier  Club.) 

(114).  Steamboats  off  the  Tower  W  114 

Boston  Catalogue:    Page  10,  No.  85. 
London  Catalogue:   Page  26,  No.  114. 

(115).  The  Little  Forge  W  115 

Boston  Catalogue:    Page  10,  No.  86. 
1875.     Paris  Catalogue:    Page  103,  No.  338. 

London  Catalogue:    Page  26,  No.  115. 

(116).  Two  Ships  W  116 

London  Catalogue:    Page  26,  No.  116. 


270         THE  WORKS  OF  WHISTLER 

(117).  The  Piano  W  117 

Boston  Catalogue:    Page  10,  No.  88. 
1875.     Paris  Catalogue:    Page  103,  No.  339. 
London  Catalogue:    Page  26,  No.  117. 

(118).  The  Scotch  Widow  W  118 

Boston  Catalogue:    Page  10,  No.  89. 

(119).  Speke  Shore  W  119 

Boston  Catalogue:  Page  10,  No.  90. 
Paris  Catalogue:  Page  103,  No.  340. 
London  Catalogue:  Page  26,  No.  119. 

(120).  The  Dam  Wood  W  120 

Boston  Catalogue:    Page  10,  No.  91. 
1873.     Paris  Catalogue:    Page  104,  No.  341. 
London  Catalogue:    Page  26,  No.  120. 

(121).  Shipbuilder's  Yard  W  121 

London  Catalogue:    Page  26,  No.  121. 

(122).  The  Guitar-Player  W  122 

Boston  Catalogue:    Page  11,  No.  92. 
Paris  Catalogue:    Page  104,  No.  342. 
London  Catalogue:    Page  26,  No.  122. 

(123).  London  Bridge  W  123 

Boston  Catalogue:    Page  11,  No.  93. 
London  Catalogue:    Page  26,  No.  123. 

(124).  Price's  Candle  Works  W  124 

Boston  Catalogue:    Page  11,  No.  95. 
Paris  Catalogue:    Page  104,  No.  343. 
London  Catalogue:    Page  26,  No.  124. 

(125).  Battersea:  Dawn  W  125 

Boston  Catalogue:    Page  11,  No.  98. 
Paris  Catalogue:    Page  104,  No.  344. 
London  Catalogue:    Page  26,  No.  125. 


WHISTLER'S  ETCHINGS  271 

(126).  The  Muff  .W  126 

London  Catalogue:    Page  27,  No.  126. 

(127).  A  Sketch  of  Ships  W  127 

London  Catalogue:    Page  27,  No.  127. 

(128).  The  White  Tower  W  128 

London  Catalogue:    Page  27,  No.  128. 

(129).  The  Troubled  Thames  W  129 

(Not  included  in  the  Memorial  Exhibitions  or  that 
of  the  Grolier  Club.) 

(130).  A  Sketch  from  Billingsgate  W  130 

Boston  Catalogue:    Page  11,  No.  99. 
London  Catalogue:    Page  27,  No.  130. 

(131).  Fishing  Boats,  Hastings  W  131 

London  Catalogue:    Page  27,  No.  131. 

(132).  Wych  Street  W  132 

Paris  Catalogue:    Page  104,  No.  345. 
London  Catalogue:    Page  27,  No.  132. 

(133).  Temple  Bar  W  133 

London  Catalogue:    Page  27,  No.  133. 

(134).  Free  Trade  Wharf  W  134 

Boston  Catalogue:    Page  11,  No.  100. 
London  Catalogue:    Page  27,  No.  134. 

(135).  The  Thames,  Toward  Erith  W  135 

Boston  Catalogue:    Page  11,  No.  101. 
London  Catalogue:    Page  27,  No.  135. 

(136).  Lindsay  Houses  W  136 

Boston  Catalogue:    Page  11,  No.  103. 
1878.     Paris  Catalogue:    Page  104,  No.  346. 

London  Catalogue:    Page  27,  No.  136. 


272         THE  WORKS  OF  WHISTLER 

(137).  From  Pickled  Herring  Stairs  W  137 

Boston  Catalogue:  Page  11,  No.  104. 
London  Catalogue:  Page  27,  No.  137. 

(138).  Lord  Wolseley  W  138 

Boston  Catalogue:  Page  12,  No.  105. 
Paris  Catalogue:  Page  104,  No.  347. 
London  Catalogue:  Page  27,  No.  138. 

(139).  Irving  as  Philip  of  Spain  W  139 

London  Catalogue:    Page  27,  No.  139. 

(140).  St.  James's  Street  WHO 

Boston  Catalogue:  Page  12,  No.  106. 
London  Catalogue:  Page  27,  No.  140. 

(141).  Battersea  Bridge  W  141 

Boston  Catalogue:    Page  12,  No.  107. 
Paris  Catalogue:    Page  104,  No.  348. 
London  Catalogue:    Page  27,  No.  141. 

(142).  Whistler  with  the  White  Lock  W  142 

Grolier  Club.    No.  143. 

(143).  The  Large  Pool  W  143 

Boston  Catalogue:    Page  12,  No.  108. 
1879.     Paris  Catalogue:    Page  104,  No.  349. 
London  Catalogue:    Page  27,  No.  143. 

(144).  The  "Adam  and  Eve,"  Old  Chelsea  W  144 

Boston  Catalogue:  Page  12,  No.  110. 
London  Catalogue:  Page  27,  No.  144. 

(145).  Putney  Bridge  W  145 

Boston  Catalogue:  Page  12,  No.  111. 
Paris  Catalogue:  Page  104,  No.  350. 
London  Catalogue:  Page  27,  No.  145. 


WHISTLER'S  ETCHINGS  273 

(146).  The  Little  Putney  W  146 

Boston  Catalogue:  Page  12,  No.  112. 
London  Catalogue:  Page  28,  No.  146. 

(147).  Hurlingham  W  147 

Boston  Catalogue:  Page  12,  No.  113. 
London  Catalogue:  Page  28,  No.  147. 

(148).  Fulham  W  148 

Boston  Catalogue:  Page  12,  No.  114. 
London  Catalogue:  Page  28,  No.  148. 

(149).  The  Little  Venice  W  149 

Boston  Catalogue:  Page  13,  No.  116. 
Paris  Catalogue:  Page  104,  No.  351. 
London  Catalogue:  Page  28,  No.  149. 

(150).  Nocturne  W  150 

Boston  Catalogue:  Page  13,  No.  117. 
Paris  Catalogue:  Page  104,  No.  352. 
London  Catalogue:  Page  28,  No.  150. 

(151).  The  Little  Mast  W  151 

v     Paris  Catalogue:    Page  104,  No.  353. 
London  Catalogue:    Page  28,  No.  151. 

(152).  The  Little  Lagoon  W  152 

Boston  Catalogue:    Page  13,  No.  119. 
Paris  Catalogue:    Page  104,  No.  354. 
London  Catalogue:    Page  28,  No.  152. 

(153).  The  Palaces  W  153 

Boston  Catalogue:    Page  13,  No.  120. 
Paris  Catalogue:    Page  104,  No.  355. 
London  Catalogue:    Page  28,  No.  153. 


274         THE  WORKS  OF  WHISTLER 

(154).  The  Doorway  W  154 

Boston  Catalogue:    Page  13,  No.  121. 
Paris  Catalogue:    Page  105,  No.  356. 
London  Catalogue:    Page  28,  No.  154. 

(156).  The  Piazzetta  W  155 

Paris  Catalogue:  Page  105,  No.  357. 
London  Catalogue:  Page  28,  No.  155. 

(156).  The  Traghetto,  Second  Plate  W  156 

Boston  Catalogue:  Page  13,  No.  124. 
Paris  Catalogue:  Page  105,  No.  358. 
London  Catalogue:  Page  28,  No.  156. 

(157).  The  Riva,  No.  1  W  157 

Paris  Catalogue:  Page  105,  No.  359. 
London  Catalogue:  Page  28,  No.  157. 

(158).  Two  Doorways  W  1M 

Boston  Catalogue:  Page  13,  No.  125. 
Paris  Catalogue:  Page  105,  No.  360. 
London  Catalogue:  Page  28,  No.  158. 

(159).  The  Beggars  W  159 

Boston  Catalogue:  Page  13,  No.  127. 
Paris  Catalogue:  Page  105,  No.  361. 
London  Catalogue:  Page  28,  No.  159. 

(160).  The  Mast  W  160 

Boston  Catalogue:  Page  13,  No.  128. 
Paris  Catalogue:  Page  105,  No.  362. 
London  Catalogue:  Page  28,  No.  160. 

(161).  Doorway  and  Vine  W  161 

London  Catalogue:    Page  28,  No.  161. 

(162).  Wheelwright  W  162 

London  Catalogue:    Page  28,  No.  162. 


WHISTLER'S  ETCHINGS  275 

(163).  San  Biagio  W  163 

Boston  Catalogue:  Page  14,  No.  129. 
Paris  Catalogue:  Page  105,  No.  363. 
London  Catalogue:  Page  28,  No.  163. 

(164).  Bead-Stringers  W  164 

Paris  Catalogue:  Page  105,  No.  364. 
London  Catalogue:  Page  28,  No.  164. 

(165).  Turkeys  W  165 

London  Catalogue:    Page  28,  No.  165. 

(166).  Fruit-Stall  W  166 

Boston  Catalogue:  Page  14,  No.  131. 
Paris  Catalogue:  Page  105,  No.  365. 
London  Catalogue:  Page  28,  No.  166. 

(167).  San  Giorgio  W  167 

Boston  Catalogue  Page  14,  No.  132. 
Paris  Catalogue:  Page  105,  No.  366. 
London  Catalogue:  Page  28,  No.  167. 

(168).  Nocturne,  Palaces  W  168 

Boston  Catalogue:  Page  14,  No.  133. 
Paris  Catalogue:  Page  105,  No.  367. 
London  Catalogue:  Page  28,  No.  168. 

(169).  Long  Lagoon  W  169 

Boston  Catalogue:    Page  14,  No.  135. 
Paris  Catalogue:    Page  105,  No.  368. 
London  Catalogue:    Page  28,  No.  169. 

(170).  The  Temple  W  170 

London  Catalogue:    Page  29,  No.  170. 

(171).  The  Bridge  W  171 

Boston  Catalogue:    Page  14,  No.  136. 
Paris  Catalogue:    Page  105,  No.  369. 
London  Catalogue:    Page  29,  No.  171. 


276         THE  WORKS  OF  WHISTLER 

(172).  Upright  Venice  W  172 

Boston  Catalogue:    Page  14,  No.  137. 
Paris  Catalogue:    Page  105,  No.  370. 
London  Catalogue:    Page  29,  No.  172. 

(173).  Little  Court,  Drury  Lane  W  173 

Paris  Catalogue:    Page  105,  No.  371. 
London  Catalogue:    Page  29,  No.  173. 

(174).  Lobster  Pots  W  174 

London  Catalogue:    Page  29,  No.  174. 

(175).  The  Riva,  No.  2  W  175 

Boston  Catalogue:  Page  14,  No.  138. 
Paris  Catalogue:  Page  105,  No.  372. 
London  Catalogue:  Page  29,  No.  175. 

(176).  Drury  Lane  W  176 

London  Catalogue:    Page  29,  No.  176. 

(177).  The  Balcony  W  177 

Boston  Catalogue:    Page  14,  No.  139. 
Paris  Catalogue:    Page  106,  No.  373. 
London  Catalogue:    Page  29,  No.  177. 

(178).  Fishing  Boat  W  178 

London  Catalogue:    Page  29,  No.  178. 

(179).  Ponte  Piovan  W  179 

Boston  Catalogue:    Page  15,  No.  140. 
London  Catalogue:    Page  29,  No.  179. 

(180).  Garden  W  180 

Boston  Catalogue:    Page  15,  No.  141. 
London  Catalogue:    Page  29,  No.  180. 


WHISTLER'S  ETCHINGS  277 

(181).  The  Rialto  W  181 

Boston  Catalogue:  Page  15,  No.  142. 
Paris  Catalogue:  Page  106,  No.  374. 
London  Catalogue:  Page  29,  No.  181. 

(182).  Long  Venice  W  182 

Boston  Catalogue:  Page  15,  No.  143. 
Paris  Catalogue:  Page  106,  No.  375. 
London  Catalogue:  Page  29,  No.  182. 

(183).  Furnace,  Nocturne  W  188 

Boston  Catalogue:  Page  15,  No.  144. 
London  Catalogue:  Page  29,  No.  183. 

(184).  Quiet  Canal  W  184 

London  Catalogue:    Page  29,  No.  184. 

(185).  Salute:  Dawn  W  185 

Boston  Catalogue:  Page  15,  No.  145. 
Paris  Catalogue:  Page  106,  No.  376. 
London  Catalogue:  Page  29,  No.  185. 

(186).  Lagoon:  Noon  W  186 

Boston  Catalogue:  Page  15,  No.  146. 
London  Catalogue:  Page  29,  No.  186. 

(187).  Murano,  Glass  Furnace  W  187 

Paris  Catalogue:  Page  106,  No.  378. 
London  Catalogue:  Page  29,  No.  187. 

(188).  Fish-Shop,  Venice  W  188 

London  Catalogue:    Page  29,  No.  188. 

(189).  The  Dyer  W  189 

Boston  Catalogue:    Page  15,  No.  147. 
Paris  Catalogue:    Page  106,  No.  379. 
London  Catalogue:    Page  29,  No.  189. 


278          THE  WORKS  OF  WHISTLER 

(190).  Little  Salute  W  190 

Boston  Catalogue:    Page  15,  No.  148. 
London  Catalogue:    Page  29,  No.  190. 

(191).  Wool  Carders  W  191 

Paris  Catalogue:    Page  106,  No.  380. 

(192).  Regent's  Quadrant  W  192 

London  Catalogue:    Page  30,  No.  192. 

(193).  Islands  W  193 

Boston  Catalogue:    Page  15,  No.  149. 
London  Catalogue:    Page  30,  No.  193. 

(194).  Nocturne,  Shipping  W  194 

Boston  Catalogue:    Page  15,  No.  150. 
London  Catalogue:    Page  30,  No.  194. 

(195).  Old  Women  W  195 

Grolier  Club.    No.  197. 

(196).  Alderney  Street  W  196 

London  Catalogue:    Page  30,  No.  196. 

(197).  The  Smithy  W  197 

Boston  Catalogue:  Page  16,  No.  152. 
Paris  Catalogue:  Page  106,  No.  381. 
London  Catalogue:  Page  30,  No.  197. 

k(198).  Stables  W  198 

Boston  Catalogue:    Page  16,  No.  153. 
London  Catalogue:    Page  30,  No.  198. 

(199).  Nocturne,  Salute  W  199 

Boston  Catalogue:  Page  16,  No.  154. 
London  Catalogue:  Page  30,  No.  199. 


WHISTLER'S  ETCHINGS  279 

(200).  Dordrecht  W  200 

Boston  Catalogue:    Page  16,  No.  160. 
Paris  Catalogue:    Page  106,  No.  382. 
London  Catalogue:    Page  30,  No.  200. 

(201).  A  Corner  of  the  Palais  Royal  W  201 

London  Catalogue:    Page  30,  No.  201. 

(202).  Sketch  at  Dieppe  W  202 

London  Catalogue:    Page  30,  No.  202. 

(203).  Booth  at  a  Fair  W  203 

London  Catalogue:    Page  30,  No.  203. 

(204).  Cottage  Door  W  204 

Boston  Catalogue:  Page  16,  No.  161. 
Paris  Catalogue:  Page  106,  No.  383. 
London  Catalogue:  Page  30,  No.  204. 

(205).  The  Village  Sweet-Shop  W  205 

Boston  Catalogue:  Page  16,  No.  162. 
Paris  Catalogue:  Page  106,  No.  384. 
London  Catalogue:  Page  30,  No.  205. 

(206).  The  Seamstress  W  206 

London  Catalogue:    Page  30,  No.  206. 

(207).  Sketch  in  St.  James's  Park  W  207 

London  Catalogue:    Page  30,  No.  207. 

(208).  Fragment  of  Piccadilly  W  208 

London  Catalogue:    Page  30,  No.  203. 

(209).  Old  Clothes  Shop  W  209 

London  Catalogue':    Page  30,  No.  209. 

(210).  The  Fruit-Shop  W  210 

London  Catalogue:    Page  31,  No.  210. 


280         THE  WORKS  OF  WHISTLER 

(211).  A  Sketch  on  the  Embankment  W  211 

London  Catalogue:    Page  31,  No.  211. 

(212).  The  Menpes  Children  W  212 

London  Catalogue:    Page  31,  No.  212. 

(213).  The  Steps  W  213 

London  Catalogue:    Page  31,  No.  213. 

(214).  The  Fish-Shop:  "Busy  Chelsea"  W  214 

Boston  Catalogue:    Page  17,  No.  163. 
London  Catalogue:    Page  31,  No.  214. 

(Wrongly  called  the  "Fruit  Shop"  in  London  Cat- 
alogue.) 

(215).  T.  A.  Nash  Fruit  Shop  W  215 

Paris  Catalogue:    Page  106,  No.  385. 
London  Catalogue:    Page  31,  No.  215. 

(216).  Furniture-Shop  W  216 

London  Catalogue:    Page  31,  No.  216. 

(217).  Savoy  Scaffolding  W  217 

Paris  Catalogue:    Page  107,  No.  386. 
London  Catalogue:    Page  31,  No.  217. 

(218).  Railway  Arch 

London  Catalogue:    Page  31,  No.  218. 

(219).  Rochester  Row 

Boston  Catalogue:    Page  17,  No.  165. 
London  Catalogue:    Page  31,  No.  219. 

C220).  York  Street,  Westminster  W  220 

Boston  Catalogue:  Page  17,  No.  166. 
London  Catalogue:    Page  31,  No.  220. 

(221).  The  Fur  Cloak 

London  Catalogue:    Page  31,  No.  221. 


WHISTLER'S  ETCHINGS  281 

(222).  Woman,  Seated  y%  222 

London  Catalogue:    Page  31,  No.  222. 

(223).  Steamboat  Fleet  W,  223 

London  Catalogue:    Page  31,  No.  223. 

(224).  Mother  and  Child,  Cameo  No.  1  W  224 

Boston  Catalogue:    Page  17,  No.  167. 
Paris  Catalogue:    Page  107,  No.  387. 
London  Catalogue:    Page  31,  No.  224. 

(225).  Sketch  of  Battersea  Bridge  W  225 

London  Catalogue:    Page  31,  No.  225. 

(226).  Putney,  No.  3  W  226 

Boston  Catalogue:    Page  12,  No.  115. 
London  Catalogue:    Page  31,  No.  226. 

(227).  F.  R.  Leyland's  Mother  iW,  227 

London  Catalogue:    Page  31,  No.  227. 
(Not  in  Grolier  Club's  exhibition.)] 

(228).  Wild  West  W  228 

Grolier  Club.    No.  239. 

(229).  The  Barber's  3M  229 

Boston  Catalogue:    Page  17,  No.  170'. 
Paris  Catalogue:    Page  107,  No.  388. 
London  Catalogue:    Page  31,  No.  229. 

(230).  Petticoat  Lane  W  230 

London  Catalogue:    Page  32,  No.  230 

(231).  Old  Clothes  Exchange,  No.  1  W  231 

Boston  Catalogue:    Page  20,  No.  202. 
Paris  Catalogue:    Page  107,  No.  389. 
London  Catalogue:    Page  32,  No.  231. 


282         THE  WORKS  OF  WHISTLER 

(232).  St.  James's  Place,  Houndsditch  ,W,  232 

London  Catalogue:    Page  32,  No.  232. 

(233).  Fleur  de  Lys  Passage  tW,  233 

London  Catalogue:    Page  32,  No.  233. 

(234).  Cutler's  Street  W  234 

London  Catalogue:    Page  32,  No.  234. 

(235).  The  Cock  and  the  Pump  W  235 

Boston  Catalogue:  Page  17,  No.  171. 
London  Catalogue:  Page  32,  No.  235. 

(236).  Sandwich:  Salvation  Army  W  236 

London  Catalogue:    Page  32,  No.  236. 

(237).  Visitor's  Boat  W  237 

Boston  Catalogue:    Page  17,  No.  172. 
Paris  Catalogue:    Page  107,  No.  390. 
London  Catalogue:    Page  32,  No.  237. 

(238).  Troop  Ships  W  238 

Boston  Catalogue:    Page  18,  No.  173. 
Paris  Catalogue:    Page  107,  No.  391. 
London  Catalogue:    Page  32,  No.  238. 

(239).  Monitors  W  239 

Boston  Catalogue:  Page  18,  No.  174. 
Paris  Catalogue:  Page  107,  No.  392. 
London  Catalogue:  Page  32,  No.  239. 

(240).  Dry  Dock,  Southampton  W  240 

Paris  Catalogue:    Page  107,  No.  393. 
London  Catalogue:    Page  32,  No.  240. 

(241).  Bunting  W  241 

Paris  Catalogue:  Page  107,  No.  394. 
London  Catalogue:  Page  32,  No.  241. 


WHISTLER'S  ETCHINGS  283 

(242).  Dipping  the  Flag  W  242 

Paris  Catalogue:  Page  107,  No.  395. 
London  Catalogue:  Page  32,  No.  242 

(243).  The  Fleet— Evening  W  243 

Boston  Catalogue:  Page  18,  No.  175. 
Paris  Catalogue:  Page  107,  No.  396. 
London  Catalogue:  Page  32,  No.  243. 

(244).  Return  to  Tilbury  W  244 

Boston  Catalogue:    Page  18,  No.  177. 
London  Catalogue:    Page  32,  No.  244. 

(245).  Landing  Stage,  Cowes  (Ryde  Pier)  W  245 

Paris  Catalogue:  Page  108,  No.  397. 
London  Catalogue:  Page  32,  No.  245. 

(In  the  London  Catalogue  on  Page  18  it  is  stated 
that  No.  245  is  "incorrectly  described  by  Wedmore  as 
Ryde  Pier.") 

(246).  Chelsea  W  246 

Paris  Catalogue:    Page  108,  No.  401. 

(247).  Windsor  W  247 

Paris  Catalogue:  Page  108,  No.  402. 
London  Catalogue:  Page  32,  No.  247. 

(248).  Canal,  Ostend  W  248 

Grolier  Club.    No.  266. 

(249).  The  Church,  Brussels  W  249 

London  Catalogue:    Page  32,  No.  249. 

(250).  Court- Yard,  Brussels  W  250 

Boston  Catalogue:  Page  18,  No.  178. 
Paris  Catalogue:  Page  108,  No.  403. 
London  Catalogue:  Page  33,  No.  250. 


284          THE  WORKS  OF  WHISTLER 

(251).  Grande  Place,  Brussels  W  251 

Boston  Catalogue:  Page  18,  No.  179. 
Paris  Catalogue:  Page  108,  No.  404. 
London  Catalogue:  Page  33,  No.  251. 

(252).  Palace,  Brussels  W  252 

Boston  Catalogue:  Page  18,  No.  180. 
Paris  Catalogue:  Page  108,  No.  405. 
London  Catalogue:  Page  33,  No.  252. 

(253).  The  Barrow,  Brussels  W  253 

Paris  Catalogue:  Page  108,  No.  406. 
London  Catalogue:  Page  33,  No.  253. 

(254).  The  High  Street,  Brussels  W  254 

Boston  Catalogue:    Page  18,  No.  181. 
Paris  Catalogue:    Page  108,  No.  407. 
London  Catalogue:    Page  33,  No.  254. 

(255).  The  Market  Place,  Bruges  W  255 

London  Catalogue:  Page  33,  No.  255. 

(256).  Passages  de  L'Opera  W  256 

Boston  Catalogue:    Page  18,  No.  182. 
London  Catalogue:    Page  33,  No.  256. 

(257).  Carpet  Menders  W  257 

Boston  Catalogue:  Page  19,  No.  184. 
Paris  Catalogue:  Page  108,  No.  408. 

(258).  Sunflowers,  rue  des  Beaux-Arts  W  258 

Boston  Catalogue:    Page  19,  No.  185. 

(259).  Mairie,  Loches  W  259 

Boston  Catalogue:    Page  19,  No.  186. 
Paris  Catalogue:    Page  108,  No.  409. 
London  Catalogue:    Page  33,  No.  259. 


WHISTLER'S  ETCHINGS  285 

(260).  Steps,  Amsterdam  W  260 

Boston  Catalogue:  Page  19,  No.  187. 
Paris  Catalogue:  Page  108,  No.  410. 
London  Catalogue:  Page  33,  No.  260. 

(261).  Square  House,  Amsterdam  W  261 

Boston  Catalogue:    Page  19,  No.  188. 
Paris  Catalogue:    Page  108,  No.  411. 
London  Catalogue:    Page  33,  No.  261. 

(262).  Balcony,  Amsterdam  W  262 

Boston  Catalogue:  Page  19,  No.  189. 
Paris  Catalogue:  Page  109,  No.  412. 
London  Catalogue:  Page  33,  No.  262. 

(263).  The  Little  Drawbridge  W  263 

Paris  Catalogue:    Page  109,  No.  413. 
London  Catalogue:    Page  33,  No.  263. 

(264).  Pierrot  W  264 

Boston  Catalogue:    Page  19,  No.  191. 
Paris  Catalogue:    Page  109,  No.  414. 
London  Catalogue:    Page  33,  No.  264. 

(265).  Nocturne:  Dance  House  W  265 

Boston  Catalogue:    Page  19,  No.  192. 
Paris  Catalogue:    Page  109,  No.  415. 
London  Catalogue:    Page  33,  No.  265. 

(266).  Long  House — Dyer's,  Amsterdam  W  266 

Boston  Catalogue:    Page  19,  No.  193. 
London  Catalogue:    Page  33,  No.  266. 

(267).  Bridge,  Amsterdam  W  267 

Boston  Catalogue:    Page  19,  No.  194. 
London  Catalogue:    Page  33,  No.  267. 


286         THE  WORKS  OF  WHISTLER 

(268).  Zaandam  W  268 

Boston  Catalogue:  Page  20,  No.  197. 
Paris  Catalogue:  Page  109,  No.  416. 
London  Catalogue:  Page  34,  No.  268. 

(269).  Speke  Hall,  No.  2  S  269 

London  Catalogue:    Page  34,  No.  269. 

(270).  Church  Doorway,  Edgemere  S  270 

London  Catalogue:    Page  34,  No.  270. 

(271).  Double  Doorway,  Sandwich  S  271 

Grolier  Club.    No.  298. 

(272).  Doorway,   Sandwich  S  272- 

Paris  Catalogue:    Page  109,  No.  418. 

(273).  Butcher's  Shop,  Sandwich  S  273 

Grolier  Club.    No.  300. 

(274).  Ramparts,  Sandwich  S  274 

Boston  Catalogue:    Page  20,  No.  198. 
London  Catalogue:    Page  34,  No.  274. 

(275).  Portsmouth  Children  S  275 

Paris  Catalogue:  Page  108,  No.  399. 
London  Catalogue:  Page  34,  No.  275. 

(276).  Tilbury  S  276 

Paris  Catalogue:    Page  108,  No.  400. 
London  Catalogue:    Page  34,  No.  276. 

(277).  Windsor  S  277 

Grolier  Club.    No.  264. 

(278).  Little  Putney,  No.  2  S  278 

(279).  Battersea  Bridge,  No.  3  S  279* 

(Numbers  278  and  279  do  not  appear  in  the  cata- 
logues of  the  Memorial  Exhibitions  or  in  that  of  the 
Grolier  Club  exhibition.) 


WHISTLER'S  ETCHINGS  287 

(280).  Under  Battersea  Bridge  S  280 

London  Catalogue:    Page  34,  No.  280. 

(281).  Melon  Shop,  Houndsditch  S  281 

Boston  Catalogue:  Page  20,  No.  199. 
Paris  Catalogue:  Page  109,  No.  419. 
London  Catalogue:  Page  34,  No.  281. 

(282).  After  the  Sale,  Houndsditch  S  282 

Grolier  Club.    No.  303. 

(283).  Steps,  Gray's  Inn  S  283 

Grolier  Club.    No.  304. 

(284).  Gray's  Inn  Babies  S  284 

London  Catalogue:    Page  34,  No.  284. 

(285).  Gray's  Inn  Place  S  285 

Boston  Catalogue:    Page  20,  No.  201. 
London  Catalogue:    Page  34,  No.  285. 

(286).  Seats,  Gray's  Inn  S  286 

Grolier  Club.    No.  308. 

(287).  Exeter  Street  S  287 

London  Catalogue:    Page  35,  No.  287. 

(288).  Abbey  Jubilee  S  288 

Grolier  Club.    No.  262. 

(289).  Bird  Cages,  Drury  Lane  S  289 

London  Catalogue:    Page  35,  No.  289. 

(290).  The  Bucking  Horse.  S  290 

London  Catalogue:    Page  35,  No.  290. 

(291).  Rag  Shop,  Milman's  Row  S  291 

Boston  Catalogue:    Page  17,  No.  164. 
Paris  Catalogue:    Page  109,  No.  420. 
London  Catalogue:    Page  35,  No.  291. 


288          THE  WORKS  OF  WHISTLER 

(292.)  Clothes  Exchange,  No.  2  S  292 

Boston  Catalogue:    Page  20,  No.  203. 
London  Catalogue:    Page  35,  No.  292. 

(293).  Charing   Cross  Railway   Bridge  S  293 

Boston  Catalogue:    Page  20,  No.  204. 
London  Catalogue:    Page  35,  No.  293. 

(294).  Shaving  and  Shampooing  S  294 

Boston  Catalogue:    Page  17,  No.  169. 

(295).  Jubilee  Place,  Chelsea  S  295 

Boston  Catalogue:    Page  20,  No.' 205. 
Paris  Catalogue:    Page  109,  No.  421. 
London  Catalogue:    Page  35,  No.  295. 

(296).  Justice  Walk,  Chelsea  S  296 

Boston  Catalogue:    Page  21,  No.  206. 
London  Catalogue:    Page  35,  No.  296. 

(297).  Bird  Cages,  Chelsea  S  297 

Boston  Catalogue:    Page  21,  No.  207. 
London  Catalogue:    Page  35,  No.  297. 

(298).  Merton  Villa,  Chelsea  S  298 

Boston  Catalogue:    Page  21,  No.  208. 
London  Catalogue:    Page  35,  No.  298. 

(299).  Little  Maunders  S  299 

Paris  Catalogue:    Page  109,  No.  422. 
London  Catalogue:    Page  35,  No.  299. 

(300).  Custom  House  S  300 

(Not  in  the  catalogues  of  the  Memorial  Exhibi- 
tions or  in  that  of  the  Grolier  Club  exhibition.) 

(301).  Nut  Shop,  St.  James's  Place  S  301 

Boston  Catalogue:    Page  21,  No.  209. 
London  Catalogue:    Page  35,  No.  301. 


WHISTLER'S  ETCHINGS  289 

(302).  Old  Clothes  Shop,  No.  2  S  302 

London  Catalogue:    Page  35,  No.  302. 

(303).  Model,  Stooping  S  303 

London  Catalogue:    Page  36,  No.  303. 

(304).  Nude  Figure,  Reclining  S  304 

Grolier  Club.    No.  330. 

(305).  Binding  the  Hair  S  305 

Grolier  Club.    No.  331. 

(306).  The  Little  Hat  S  306 

London  Catalogue:    Page  36,  No.  306. 

(307).  The  Little  Nurse  Maid  S  307 

London  Catalogue:    Page  36,  No.  307. 
(Not  in  the  Grolier  Club  exhibiton.) 

(308).  Baby  Pettigrew  S  308 

Grolier  Club.    No.  333. 

(309).  Miss  Lenoir  S  309 

Grolier  Club.    No.  334. 

(310).  Swan  and  Iris  S  310 

Boston  Catalogue:    Page  21,  No.  210. 
London  Catalogue:    Page  36,  No.  310. 

(311).  Mother  and  Child,  Cameo  No.  2  S  311 

Boston  Catalogue:    Page  17,  No.  168. 

(312).  Marbles  S  312 

Grolier  Club.    No.  341. 

(313).  Bebes,  Luxembourg  Gardens  S  313 

Boston  Catalogue:    Page  23,  No.  229. 

(314).  Terrace:  Luxembourg  Gardens  S  314 

Paris  Catalogue:    Page  109,  No.  423. 


290 

(315).  Boulevard,  Poissonniere  S  315 

Boston  Catalogue:   Page  21,  No.  211. 

(316).  Rue  Rochefoucault  S  316 

Boston  Catalogue:    Page  21,  No.  212. 
,  Paris  Catalogue:    Page  109,  No.  424. 

London  Catalogue:    Page  36,  No.  316. 

{317).  guai  de  Montebello  S  317 

Boston  Catalogue:   Page  21,  No.  213. 
London  Catalogue:    Page  36,  No.  317. 

(318).  guai,  Ostend  S  318 

'Grolier  Club.    No.  267. 

(319).  Railway  Station,  Voves  S  319 

Boston  Catalogue:   Page  21,  No.  214. 
Paris  Catalogue:   Page  109,  No,  425. 

(320).  Rue  des  Bons-Enfants,  Tours  S  320 

Paris  Catalogue:    Page  110,  No.  426. 
London  Catalogue:   Page  36,  No.  320. 

(321).  Hotel  Croix  Blanche,  Tours  S  321 

Grolier  Club.    No.  358. 

(322).  Market-Place,  Tours  S  322 

Boston  Catalogue:    Page  21,  No.  215. 

(323).  Hangman's  House,  Tours  S  323 

Boston  Catalogue:    Page  21,  No.  216. 
London  Catalogue:   Page  36,  No.  323. 

(324).  Little  Market-Place,  Tours  S  324 

Boston  Catalogue:    Page  22,  No.  217, 

(325).  Cellar  Door,  Tours  S  325 

Grolier  Club.    No.  362. 


WHISTLER'S  ETCHINGS  291 

(326).  Place  Daumont  S  326 

Grolier  Club.    No.  363. 

(327).  Chateau  S  327 

Grolier  Club.    No.  364. 

(328).  Chateau,  Touraine  S  328 

Grolier  Club.    No.  365. 

(329).  Doorway,  Touraine  S  329 

Grolier  Club.    No.  366. 

(330).  Court  of  the  Monastery  of  St.  Augustine  at 

Bourges  S  330 

Boston  Catalogue:    Page  22,  No.  218. 

(331).  Hotel  Allement,  Bourges  S  331 

Boston  Catalogue:    Page  22,  No.  219. 
Paris  Catalogue:    Page  110,  No.  427. 

(332).  Windows,  Bourges  S  332 

Grolier  Club.    No.  369. 

(333).  Windows   Opposite  Hotel,   Bourges  S  333 

Paris  Catalogue:  Page  110,  No.  428. 
London  Catalogue:  Page  37,  No.  333. 

(334).  Chancellerie,  Loches  S  334 

Boston  Catalogue:  Page  22,  No.  220. 
Paris  Catalogue:  Page  110,  No.  429. 
London  Catalogue:  Page  37,  No.  334. 

'(335).  Market  Women,  Loches  S  335 

Grolier  Club.    No.  373. 

(336).  Hotel  Promenade  S  336' 

Grolier  Club.    No.  374. 

(337).  Theatre,  Loches  S  337 

Grolier  Club.    No.  375. 


292         THE  WORKS  OF  WHISTLER 

(338).  Tour  St.  Antoine,  Loches  S  338 

GrolierClub.    No.  376. 

(339).  Market-Place,  Loches  S  339 

GrolierClub.    No.  377. 

(340).  Renaissance  Window,  Loches  S  340 

Boston  Catalogue:    Page  22,  No.  221. 

(341).  Chapel  Doorway,  Montresor  S  341 

Boston  Catalogue:    Page  22,  No.  222. 
London  Catalogue:    Page  37. 

(342).  Chateau,  Amboise  S  342 

Grolier  Club.    No.  382. 

(343).  Clock  Tower,  Amboise  S  343 

Boston  Catalogue:    Page  22,  No.  223. 

(344).  Gateway,  Chartreux  S  344 

Grolier  Club.    No.  384. 

(345).  Under  the  Cathedral,  Blois  S  345 

Boston  Catalogue:    Page  22,  No.  224. 

(346).  A  Guild  House,  Brussels  S  346 

London  Catalogue:    Page  37,  No.  346. 

(347).  Gold  House,  Brussels  S  347 

London  Catalogue:    Page  38,  No.  347. 

(348).  Butter  Street,  Brussels  S  348 

Grolier  Club.    No.  388. 

(349).  House  of  the  Swan  S  349 

Grolier  Club.   No.  389. 

(350).  Archway,  Brussels  S  350 

Boston  Catalogue:    Page  18,  No.  183. 
London  Catalogue:    Page  38,  No.  350. 


WHISTLER'S  ETCHINGS  293 

(351).  Courtyard,  Rue  P.  L.  Courier  S  351 

Grolier  Club.    No.  391. 

(352).  Brussels  Children  S  352 

Grolier  Club.    No.  392. 

(353).  Little  Butter  Street  S  353 

Grolier  Club.    No.  393. 

(354).  Chateau  Verneuil  S  354 

Grolier  Club.    No.  394. 

(355).  Church,  Amsterdam  S  355 

Grolier  Club.    No.  288. 

(356).  The  Embroidered  Curtain  S  356 

Boston  Catalogue:     Page  20,  No.  195. 
London  Catalogue:    Page  38,  No.  356. 

(357).  Jews'  Quarters,  Amsterdam  S  357 

Grolier  Club:    No.  290. 

(358).  The  Mill  S  358 

Boston  Catalogue:    Page  20,  No.  196. 
Paris  Catalogue:    Page  109,  No.  417. 

(359).  Little  Nocturne,  Amsterdam 
Grolier  Club:    No.  291. 

(360).  The  Hole  in  the  Wall— Ajaccio 

Boston  Catalogue:    Page  23,  No.  234. 
(The  same  as  "Bohemians,  Corsica.") 

(361).  Venice  S  361 

Grolier  Club.    No.  202. 

(362).  Seymour,  Standing  S  362 

Grolier  Club.    No.  25. 

(363).  Opposite  Lindsay  Row  S  363 

London  Catalogue:    Page  38,  No.  363. 


294         THE  WORKS  OF  WHISTLER 

(364).  A  Lady  Wearing  a  Hat  with  a  Feather          S  364 

Grolier  Club.    No.  120. 

(365).  A  Girl  with  Large  Eyes  S  365 

Grolier  Club.    No.  121. 

(366).  A  Sketch  of  Heads  S  366 

Grolier  Club.    No.  122. 

(367).  Nora  Quinn  S  367 

Grolier  Club.    No.  231. 

(368).  The  Traghetto  S  368 

Grolier  Club.    No.  157. 

(369).  An  Eagle  S  369 

Grolier  Club.    No.  395. 

(370).  Jo— Bent  Head  S  37° 

Boston  Catalogue:    Page  8,  No.  58. 
London  Catalogue:    Page  39,  No.  370. 

(371).  Young  Woman,  Standing  S  371 

Grolier  Club.    No.  102. 
(372).  Nude  Figure,  Standing  S  372 

Grolier  Club.    No.  109. 

(373).  Au  Sixieme  G  4 

Grolier  Club.    No.  4. 

(374).  Sketching  No.  2  G  72 

Grolier  Club.    No.  72. 

(375).  Court  Yard,  Venice  G  203 

Boston  Catalogue:    Page  16,  No.  156. 

(376.)  Gondola  Under  a  Bridge  G  204 

Boston  Catalogue:    Page  16,  No.  157. 

(377.)  The  Steamboat,  Venice  G  205 

Boston  Catalogue:    Page  16,  No.  158. 


WHISTLER'S  ETCHINGS  295 

(378).  Venetian  Water  Carrier  G  206 

Boston  Catalogue:    Page  16,  No.  159. 

(379).  Shipping,  Venice  G  207 

Grolier  Club.    No.  207. 

(380).  The  Towing  Path  G  217 

Grolier  Club.    No.  217. 

(381).  Wild  West— Buffalo  Bill  G  241 

Grolier  Club.    No.  241. 

(382).  Turret  Ship  G  261 

Boston  Catalogue:    Page  18,  No.  176. 
Paris  Catalogue:    Page  108,  No.  398. 
London  Catalogue:    Page  18,  No.  139. 

(383).  The  Beach,  Ostend  G  268 

Grolier  Club.    No.  268. 

(384).  The  Little  Wheelwright's  G  294 

Grolier  Club.    No.  294. 

(385).  Little  Dordrecht  G  295 

Grolier  Club.    No.  295. 

(386).  Boats,  Dordrecht  G  296 

Grolier  Club.    No.  296. 

(387).  The  Greedy  Baby  G  306 

Grolier  Club.    No.  306. 

(388).  Babies,  Gray's  Inn  G  310 

Grolier  Club.    No.  310. 

(389).  Children,  Gray's  Inn  G  311 

Grolier  Club.    No.  311. 

(390).  St.  Martin's  Lane— Rag  Shop  G  315 

Grolier  Club.    No.  315. 


296         THE  WORKS  OF  WHISTLER 

(391).  King's  Road,  Chelsea  G  323 

Grolier  Club.    No.  323. 

(392).  The  Hansom  Cab,  or  Wimpole  Street  G  324 

Grolier  Club.    No.  324. 

(393).  Wood's  Fruit  Shop  G  326 

London  Catalogue:    Page  40,  No.  378. 

(394).  Resting  by  the  Stove  G  336 

London  Catalogue:    Page  40,  No.  381. 

(385).  Little  Nude  Figure  G  337 

London  Catalogue:    Page  39,  No.  376. 

(396.)  Model  Number  3  G  388 

Grolier  Club.    No.  338. 

(397).  The  Bonnet  Shop  G  339 

Grolier  Club.    No.  339. 

(398).  The  Mantle  G  340 

Grolier  Club.    No.  340. 

(399).  Dray  Horse  G  347 

Grolier  Club.    No.  347. 

(400).  Marchand  de  Vin,  Paris  G  348 

Boston  Catalogue:    Page  23,  No.  230. 

(401).  Rue  de  Seine  G  349 

Boston  Catalogue:    Page  23,  No.  233. 
London  Catalogue:    Page  40,  No.  379. 

(402).  Atelier  Bijouterie  G  350 

Boston  Catalogue:    Page  23,  No.  231. 
Paris  Catalogue    Page  110,  No.  432. 
London  Catalogue:    Page  39,  No.  373. 

(403).  Cafe  Luxembourg  G  351 

Boston  Catalogue:    Page  23,  No.  232. 


WHISTLER'S  ETCHINGS  297 

(404).  The  Terrace,  Luxembourg  Gardens  G  352 

London  Catalogue:    Page  40,  No.  377. 

(405).  J.  L.  Druez's  Fruit  and  Flower  Shop  G  353 

London  Catalogue:    Page  39,  No.  375. 

(406).  The  Wine  Shop  G  354 

Grolier  Club:    No.  354. 

(407).  The  Picture  Shop  G  355 

Grolier  Club:    No.  355. 

(408).  Hotel  Windows,  Bourges  G  370 

Grolier  Club:    No.  370. 

(409).  Notre-Dame,  Bourges  G  371 

Boston  Catalogue:    Page  23,  No.  227. 

(410).  Hotel  de  Ville,  Loches  G  379 

Boston  Catalogue:    Page  22,  No.  226. 

(411).  From  Agnes  Scroll's  Walk,  Loches  G  380 

Boston  Catalogue:    Page  22,  No.  225. 
Paris  Catalogue:    Page  110,  No.  433. 

(412).  A  Market,  Ostend  L  380 

London  Catalogue:    Page  40,  No.  380. 

(413).  Coast  Survey  L  400 

1854-55.  Paris  Catalogue:    Page  101,  No.  289. 

London  Catalogue:    Page  46,  No.  400. 

(The  London  Exhibition  contained  two  of   these 

Coast  Survey  subjects.    In  No.  400  only  a  part  of  the 

plate  was  etched  by  Whistler.) 

(414).  The  Silk  Dress  L  382 

London  Catalogue:    Page  41,  No.  382. 

(415).  Luxembourg  Garden  L  383 

London  Catalogue:    Page  41,  No.  383. 


298         THE  WORKS  OF  WHISTLER 

(416).  Sailing  Boats  off  Battersea 

London  Catalogue:    Page  41,  No.  384. 

(417).  Nude  Model 

London  Catalogue:    Page  41,  No.  385. 

(418).  Two  Young  Girls 

London  Catalogue:    Page  42,  No.  386. 

(419).  Female  Figure 

London  Catalogue:    Page  42,  No.  387. 

(420).  Portrait  of  Mr.  Leyland 

London  Catalogue:    Page  42,  No.  388. 

(421).  Coast  Survey  No.  1 

London  Catalogue:    Page  46,  No.  401. 

(422).  Polichinelle — Jardin  du  Luxembourg 
Paris  Catalogue:    Page  110,  No.  434. 

(423).  Marchand  de  Meubles  Rue  du  Four 
Paris  Catalogue:    Page  110,  No.  435. 

(424).  Fruiterie,  Rue  de  Seine 

Paris  Catalogue:    Page  110,  No.  436. 

(425).  Cafe  Corazza,  Palais-Royal 

Paris  Catalogue:    Page  110,  No.  437. 

(426).  The  Bushy 

Paris  Catalogue:    Page  110,  No.  438. 


INDEX 


INDEX 


Adam  and  Eve  Tavern,  The 

(etching)  108,  109,  113 

Afternoon  Tea,  (lithograph)  127 
Albright  Art  Gallery,  3 

Alexander,  Miss  Cicely  Hen- 
rietta, portrait  of,  77 
Alexander,  Miss,  portrait  of. 

77,  78 

Alexandre,  Arsene,  106 

Alsace-Lorraine,  31 

Amsterdam,  31,  35 

Annunciation,  The,  by  Rossetti,  37 
Astruc — A  Literary  Man, 

(etching)  120 

Arrangement  in  Flesh   Color 

and     Black,      (painting)      87 
Art  Notes,  125 

At  the  piano,  (painting)  14,  27 
Axenfeld,  (etching)  120 

Babbott,  Frank  Lusk,  80,  120 
Bancroft,  Samuel,  36 

Barbedienne,  Ferdinand,  56 

"Barbizon   School,"  135 

Bastien-Lepage,  40,  71 

Bead  Stringers,  (etching),  113 
Beata  Beatrix.  (Rossetti's)  36 
Beaux-Arts,  Ecole  des  4~6 

Becquet,   (etching) 
Beggars,  The,  (etching)  113 

Benedite.  Leonce,      13,  16,  23,  25 
26,  §2,  38,  41,  46,  47,  48,  56 
57,  78 

Berenson,  Bernhard,  49 

Biarritz,  16,  17 

Black  Lion  Wharf,  (etching)  108 
Blacksmith,  The,  (lithograph)  130 
Blue  and  Violet  18 

Blue  Wave,  The,      14,  18,  19,  20 

23,  25 

Boston  Memorial  Exhibition,  5,  50 

Boston  Museum  of  Fine  Arts,  79 

Bracquemond,  Felix,       13,  55   56 

104,  108 

Bridge,  The,  (etching)  109,  113 
Broad  Bridge,  (lithograph)  126 
Buhot,  Felix  H6 


Burne- Jones,  Edward,  72, 115, 139 
Cadogan  Pier,  (etching)  113 

Campbell,    Portrait    of    Lady 

Archibald,  (painting)      83,  87 
Canfield,  Richard  A.,  83 

Caprice  in  Purple  and  Gold: 
The     Golden     Screen, 
.  (painting)  60 

Carlyle,    Portrait   of,    (paint- 
ing) 74,  75 
Carmen, 

Carriere,  Eugene  72 

Carter,  Walter  S.,  121,  122 

Cassatt,  Alexander  J.,          78,  83 
Cazin,  J.  C, 

Chelsea  Girl,  (painting)        82,  83 
Chelsea  Wharf,  _  113 

Chesnau,  E.,  55,  56 

Cheyne  Walk,  35 

Chevreul, 

Chinese   Landscape    Painting,    66 
Chintreuil,  Antoine,  47 

Christ  Taking  Leave  of  His 

Mother,  65 

Christofle,  56 

Clock- Makers,  (lithograph)      127 
Coast  Survey  plate,  3,  97 

Comparative  Exhibition,  50 

Confidences    in    the    Garden, 

(lithograph)  127 

Constable,  138 

Corot,  J.  B.  C,  123 

Cottier  Galleries.  16 

Courbet,  9,  12,  13,  16,  17,  19,  20 
21,  22,  24,  25,  31,  39 
Couture, 

Cox,  Kenyon,  66,  91 

Cremorne  Gardens, 
Daumier,  Honore,  125 

Day  Dream,  The,  (Rossetti's)  3 
Decamps,  Alexandre  Gabriel,    123 
Degas,  Edgar, 

Delacroix,  Eugene,  11,  123 

Delatre,  Auguste,        55,  106,  107 
Die  Lange  Leizen,  of  The  Six 
Marks,   (painting)  57 


300 


THE  WORKS  OF  WHISTLER 


Dowdeswell,  116 

Draped      Figure,      reclining, 

(lithograph)  132 

Dr.    Johnson    at    the    Mitre, 

(Rossetti's) 
Drouet,  (etching) 
Duran,  Carolus, 

Durand-Ruel,  125 

Duret,  Theodore.  5,  11,  19,  41,  60 

85.  86   87,  88*    WL  97,  108,  111 
112,  115 

on  Couture,  12,  on  Manet,  89 
Eagle,  An,  (etching)  118 

England,  Whistler's    visit   to, 

in  I860,  14 

Early  Morning,    (lithograph) 

126,  129 

Falize,  56 

Fantin-Latour,  13,  15,  28,  31,  32 

39,  41,  42,  46,  47,  56,  57,  125 
130 

Fiammetta,  (Rossetti's)        59,  60 
Fine  Art  Society  of  London, 

111,  115 

Forget-Me-Not,  The,   (paint- 
ing) 50 
French  Set,  (etchings)  31,  97,  98 
99,  103 
Fromentin,   E.,   on  Rubens, 

3,  on  Franz  Hals, 
Fulham,  (etching) 
Furnace  Nocturne,   (etching)   113 
Garden,  The,  (etching)  122 

Gardner,  Mrs.  John  L.,  19 

Gavarni,  (S.  P.  Chevalier)      123 
Gleyre's  Studio  3,  23 

Green  and  Silver:  The  Pho- 
tographer, 25 
Greenwich  Park,  (etching)  105 
Guethary,  ?1 
Haden,  Annie,  15,  29 
Haden,  Lady,  15 
Haden,  Sir  Seymour,  104,  105 
Harmony  in  Gray  and  Green, 

(painting)  77 

Helen  of  Troy,  (Rossetti's) 
Hokusai,  55 

Horoscope,  The,  (lithograph) 

127,  134 

Hunt,  Holman,  38 

Hutchinson,  J.  H.,  121 


"Impressionists,"  137 

Ingres,  Andromeda  of,    13,  25,  28 
(copied  by  Whistler}  23 

Irving,    Henry,   as    Philip    II 

(painting)  83 

Isle  de  la  Cite,  The,  (etching)  96 
Jaccaci,  August  F.,  20 

Jacquemart,  J.  F.,  56 

Japanese  Dress,  The,  43,  57 

Japanese      Painting,     charac- 
teristics of,  66 
Joan    of    Arc,     of     Bastien- 

Lepage,  40 ;  of  Rossetti,       35 
Johnson,  J.  G.,  57,  66 

Jongkind,  47 

Keppel  Galleries,  23 

Kitchen,  The,  (etching)  100 

113,  122 

Kokka,  The,  66 

La    Belle    Dame    Endormie, 

(lithograph).  %  127 

La    Belle   Jardiniere,    (litho- 
graph). 127 
La  Blanchisseuse  de  la  Place 

Dauphine,      (lithograph)  127 
Lady  Lilith,   (Rossetti's)  37 

Lady  with  the  Yellow  Buskin, 

(painting)  83 

La  Mere  Gerard,   (etching), 

98,  101 
La   Mer    Orageuese,     (Cour- 

bet's)  16,  20 

Landscape    with    the    Horse, 

The,  (etching)  102 

Last    of    Old     Westminster, 

The,  (painting)  22,  23 

Laurens,  Jean  Paul  47,  83,  87 

La  Vague,  (Courbet's)  16,  19,  20 
Laveielle  53 

La  Vieille,  aux  Loques,  (etch- 
ing), 101 
Legros,  Alphonse,  13,  47,  104,  106 
Leyland,  Florence, 
Leyland,  Miss,  57 
Limehouse,   (etching)                 108 
Little,  Arthur,  (etching)  101,  102 
Little    Blue    and    Gold    Girl, 

(painting)  50,  101,  102 

Little   Lady   Sophie  of   Soho, 

The,    (painting) 
Little  London,  (lithograph)      126 


INDEX 


301 


Little     Penelope     Boothby 

(Reynolds's)  77 

Little  Rose  of  Lyme-Regis, 

(painting)  77,  79 

Little  Venice,  (etching)  115 

Little    White    Girl,    The, 

Symphony       in       White 

Number  2,  (painting)     48,  65 

Liverdun,  (etching)  104 

London  Memorial  Exhibition,      6 

Lotto,  Lorenzo,  65 

Louvre,  13,  23 

Lucretia   Borgia,    (Rossetti's)    36 

Mallarme    Stephane,  85 

Manet,  Edouard,      12,  13,  16,  47 

56,  88,  138,  Life  by  Du- 

ret,  89,  90 

Mansfield,    Howard,     24,   28,    43 

44,   50,   51 

Mantz,  Paul,  19,  20 

Master  Smith  of  Lyme-Regis, 

(lithograph)  141 

Menpes,  Mortimer,  45,  113 

Menzel,  Adolph,  123 

Metropolitan  Museum  of  Fine 

Arts  37,  62 

Meux,    Lady,    portrait    of 

(painting)  27 

Millais,  J.  E.  38 

Miser,  The,  (etching)  104 

Monet,  Claude,        47,  56,  139,  140 
Montesquiou-Fezensac,  Comte 

Robert  de,   (painting)          84 
Moore,  Albert,  49 

Moore,  George,  75,    76 

Morris,  Mrs.  William,  60 

Music  Room,  The,  (painting) 

27,  29,  31,  37,  40,  49 
Napoleon  III 

Naval  Review,  (etchings).        118 
Nocturne,  (etching).          120,  122 
Nocturne  in  Black  and  Gold; 
The    Falling    Rocket, 
(painting)  64,  65 

Nocturne  in  Green  and  Gold, 

(painting)  62 

Old  Smith's  Story,  The  (lith- 
ograph) 

Paimpol,  (lithograph) 
Palaces,  The,  (etching)  121 

Pandora,  (Rossetti's)  60 

Park,  Dr.  RoswelJ,  3 


Park,  Miss  Mary,  3 

Paris,  Whistler's  Study  in,  11 
Pennsylvania  Academy  Exhi- 
bition, 50 
Perros-Guirec,  31 
Pissarro,  Camille,  47 
Pomfrett,  Connecticut,  3 
Pope,  Alfred  Attmore,  16,  22,  84 
Portrait  of  a  Lady,  (painting)  83 
Portrait  of  Whistler's  Moth- 
er, (painting)  73 
Pre-Raphaelite  Brotherhood, 

31,  139 

Pretty  Nellie  Brown,  (paint- 
ing) 80 
Price's  Candle  Works,  (etch- 
ing)                                    113 
Priest's  House-Rouen,   (litho- 
graph).                                 130 
Proserpine,  (Rossetti's)        38,  60 
Propositions        108,  109,  116,  117 
Raffet,                                          125 
Rag  Gatherers,  (etching)  99,  121 
Regina  Cordium,    (Rossetti's)   36 
Rembrandt's  Night  Watch,        31 
Reynolds,  Sir  Joshua,           72,  78 
Riggle,  Dr.  Edward,                   124 
Riva,  The,  (etching) 
Riva,  Number  Two,  (etching)  113 
Roman    Widow,    The    (Ros- 
setti's)                                       38 
Romantic  School  of  Painting,  11 
Rood,  Ogden  N.,                         32 
Rosa  Corder,  (painting)     83,  100 
Rose   and    Silver;    La    Prin- 
cesse  du  Pays  de  la  Por- 
celaine.   (painting)           58,  60 
Rossetti,  D.  G.,  35,  36,  37,  38,  39 
40,  56,  57,  65,  138 
Rossetti,  William  M.,                  56 
Royal  Academy,            14,  48,  111 
Rotherhithe,   (etching)              108 
Rue  de  Rivoli,                              55 
Ruskin,                            38,  65,  112 
Russia,  Whistler  in 
Ruth  Herbert,  (Rossetti's)          36 
Salon,    (of    1859)    15,    (of 

1863)  46,  (of  1885) 
Salon  des  Refuses,  16,  47 

Salute:  Dawn,  (etching)  115 

Sam  Weller's  Lodging  in  the 
Fleet  Prison,  (painting)        6 


302 


THE  WORKS  OF  WHISTLER 


Sarasate,  Senor,  (painting) 
Savoy  Pigeons,  (lithograph)     126 
Sesshu,  61 

Sir    Tristram    and    La    Belle 
Yseult    drinking    the    Love 

Potion,  (Rossetti's) 
Solon,  56 

Soye,  de  M.,  56 

Spain,  31,  32 

Spauali,  Christine,  59 

Spartali,    Marie,    Mrs.    Still- 
man  59 
Strawberry   Girl,  The,    (Rey- 
nolds')                                    77 
Street  at  Saverne,  (etching),  103 
Sunflowers,   Rue   des    Beaux- 
Arts,   (etching)                    118 
Swinburne,  A.  C,                  36,  48 
Swinburne,  (etching)                 120 
Symphony  in  Blue  and  Violet, 

(painting)  17,  18 

Symphony  in  Green  and  Rose 
(The  Music  Room), 
(painting)  41 

Symphony  in  White,  Number 
1,  (The  White  Girl), 
(painting)  41 

Symphony  in  White,  Number 

3   (painting) 

Taki  Seiichi  61 

Tall  Bridge,  (lithograph)         126 
Temple  Bar,    (etching)  114 

"Ten  O'Clock"  65 

Tete-a-tete     in     the     Garden, 

(lithograph)  127 

Thames  Set,  (etchings)  99 


Thames  Warehouses,  (etch- 
ing) 108,  109 
Thompson,  Sir  Henry  58 
Tissot,  J.  J.,  56 
Toilet,  The  (lithograph)  126 
Tollhuis  (etching)  31 
Traghetto,  The  (etching)  11? 
Trouville  19,  20 
Turner,  J.  M.  W.,  137 
"Twenty-Six,"  (etching)  116,  118 
Under  Old  Battersea  Bridge, 

(etching)  113 

Untermyer,    Mrs.    Samuel,         64 

Upright  Venice,  (etching)  96,  113 

Variations     in     Flesh     Color 

and  Green;  The  Balcony, 

(painting)  60 

Velasquez,  13,  32 

Venetian  etchings  4 

Watts,  Frederick  138 

Way,  Thomas,      27,  125,  127,  133 

134 

Way  and  Dennis,  on  Whistler      5 

Wedmore,  Frederick,  97.  100,  112 

113,  121 

Westminster  Bridge  (etching)    121 
"Whistler   as    I  Knew   Him," 

(Menpes's)  45,  113 

White    Girl,   The     (painting) 

37,    38,    39,    41,    46,    47,    49 
Wood,  The   (etching)  43 

Wych  Street,  (etching).  104 

Yellow  Buskin,    The,    (paint- 
ing) 131,  134 
Yellow    House — Lannion, 

(lithograph)  118,  134 


Universit 


RET  TO 
AUPi 


UCLA-Art  Library 

ND  237  W5C2 


L  006  226  1 45  8 


. .  '•••••••• .  v. 


<^u 


